The Walnut's MUSIC MAN. Climb on board for "The Wells Fargo Wagon".

“The Music Man” is not only a beloved Broadway classic, but also has imprinted in our minds 4 signature characters from which succeeding actors are yardsticked. I speak of Robert Preston as Hill, Shirley Jones, Marian; Ron Howard, Winthrop and Paul Ford, Mayor Shinn.

The Walnut Street's “Music Man” succeeds in eliminating the “almost as good as” or 'not quite so and so”. This is as joyous and lovingly staged and acted a musical as you will ever witness. Smiles were plastered on the audience throughout. One felt privileged being in attendance. A classic show in a classic theatre (America's oldest - in its 204^th season!) served up with the highest quality talent and production values.

If a child actor is good, well, you've heard the rubric about following kids and animals. Vincent Crocilla plays Winthrop, the insecure little stutterer who falls under the spell of the consummate showman, Harold Hill, suitor to his big sister Marian. This precious child is TOO cute. When he struts the tune “Gary Indiana” (resembling Psy's Gangman dance), the house exploded. There were tears coursing down cheeks on a number of faces, male and female.

Jeffrey Coon (Hill) has a gorgeous voice. One must be a triple threat to do this part and he does not miss a step in Director/Choreographer Marc Robin's exhilarating production numbers. Robin's background must be in ballet, for there was much more of that than the normal jazz dance of past productions Aisle Say has witnessed.

Jennifer Hope Wills (Marian) starred for four years on Broadway as Christine in “Phantom”. Enough said regarding her transcendent voice! The ingenue merely changes addresses – from Paris to River City Iowa.

Set design at The Walnut has always been a strength. In the review of last season's “The King and I”, I mentioned the romance, glamor and power of Robert Andrew Kovach's set. River City is a long way from Siam's monarchical palace, but the fine art created by Kovach make the trees appear three dimensional. Quite a feat. It's like you are seeing a two dimensional set in Imax.

With the largest subscriber base of any theatre in America, The Walnut has a budget to do things to near perfection. Costume designer Colleen Grady fulfills her mission in capturing middle America in brilliant hues. As far as attention to detail....look at the shoes, the bonnets, the dresses of those pictured.

Tickets to this production would make thoughtful pre-Christmas presents. Thoughtful? Most certainly. It means you care enough about the recipient to wish she/he and theirs to glory in one of the two forms of music created in America...jazz and MUSICAL THEATRE. I doubt your friends will ever forget this show...this pastiche of Americana...as close to perfection as one could achieve.

Through January 6. Walnutstreettheatre.org 800.982.2787

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Climb onto "The Wells Fargo Wagon" for The Walnut's MUSIC MAN

“The Music Man” is not only a beloved Broadway classic, but also has imprinted in our minds 4 signature characters from which succeeding actors are yardsticked. I speak of Robert Preston as Hill, Shirley Jones, Marian; Ron Howard, Winthrop and Paul Ford, Mayor Shinn.

The Walnut Street's “Music Man” succeeds in eliminating the “almost as good as” or 'not quite so and so”. This is as joyous and lovingly staged and acted a musical as you will ever witness. Smiles were plastered on the audience throughout. One felt privileged being in attendance,. A classic show. in a classic theatre (America's oldest - in its 204^th season!) served up with the highest quality talent and production values.

If a child actor is good, well, you've heard the rubric about following kids and animals. Vincent Crocilla plays Winthrop, the insecure little stutterer who falls under the spell of the consummate showman, Harold Hill, suitor to his big sister Marian. This precious child is TOO cute. When he struts the tune “Gary Indiana” (resembling Psy's Gangman dance), the house exploded. There were tears coursing down cheeks on a number of faces, male and female.

Jeffrey Coon (Hill) has a gorgeous voice. One must be a triple threat to do this part and he does not miss a step in Director/Choreographer Marc Robin's exhilarating production numbers. Robin's background must be in ballet, for there was much more of that than the normal jazz dance of past productions Aisle Say has witnessed.

Jennifer Hope Wills (Marian) starred for four years on Broadway as Christine in “Phantom”. Enough said regarding her transcendent voice! The ingenue merely changes addresses – from Paris to River City Iowa.

Set design at The Walnut has always been a strength. In the review of last season's “The King and I”, I mentioned the romance, glamor and power of Robert Andrew Kovach's set. River City is a long way from Siam's monarchical palace, but the fine art created by Kovach make the trees appear three dimensional. Quite a feat. It's like you are seeing a two dimensional set in Imax.

With the largest subscriber base of any theatre in America, The Walnut has a budget to do things to near perfection. Costume designer Colleen Grady fulfills her mission in capturing middle America in brilliant hues. As far as attention to detail....look at the shoes, the bonnets, the dresses of those pictured.

Tickets to this production would make thoughtful pre-Christmas presents. Thoughtful? Most certainly. It means you care enough about the recipient to wish she/he and theirs to glory in one of the two forms of music created in America...jazz and MUSICAL THEATRE. I doubt your friends will ever forget this show...this pastiche of Americana...as close to perfection as one could achieve.

Through January 6. WalnutStreetTheatre.org 800.982.2787

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UD REP Ensemble's absurdest French farce "Anything To Declare"

Philadelphia professional sports teams are having an off year. The Phillies's Chase Utley and Ryan Howard suffered injuries and below par batting averages; the Eagles are imploding and the Sixer's long sought after big man, Andrew Bynum, has mysterious bone bruises.

The UD REP Ensemble - without doubt our state's greatest theatre - is suffering through its own sort of malaise. It is not the acting...which is always impeccable. And certainly not the other 'actors' in the production; the set, costumes and sound. It is the choice of shows.

This fourth season opened with an Irish play, “The Weir”. Even the director suggested in his notes it might be retitled “The Weird”. Aisle Say agrees.

Set in a desolate pub on a desolate night, tales of ghosts and the supernatural are shared by the characters in attendance. These yarns of love and loss were preternaturally talky talky and went nowhere.

Second up and currently playing is the French farce “Anything To Declare”. Sandy Robbins, Producing Artistic Director of this professional group, has consistently prodded, provoked and piqued his audiences. These two selections, however, had me scratching my head. Neither are classic examples of their genre.

Oui, madames et monsieurs, “Declare” is an example of turn of the century French vaudeville and debuted in 1906. Vaudeville features intricate and implausible plots with no pretense of a moral conclusion. So, in that context, it is a learning experience for the audience. In “Declares” case, however, there is a disconnect between the pushing of the artistic envelope and entertainment. Part of the disconnect is the use of contemporary catch phrases such as 'for pete's sake', 'scam', 'seal the deal'. In a 1906 setting in France?

An analogy would be the reason that George Gershwin's music in his many stage shows are not more popularly performed. It's due to the impossibly sophomoric and dated plots. The plot of “Declare” is simply too absurdest for even those familiar with farce to embrace. The laugh lines seemed forced.

There were scattered tittering circulating through the theatre during this production. Nothing, though, to compare with the mass eruptions of hysteria in the French farce “The Imaginary Invalid” of REP's premiere season, followed by year two's “Midsummer Night's Dream” or last year's “Skin Of Our Teeth”.

The extremely talented ensemble maintains their excellence. Michael Gotch, Elizabeth Heflin, Mic Matarrese, Stephen Pilinski and Kathleen Pirkl Tague are consummate actors.

Next up in January Sandy Robbins once again pioneers into unknown territory with the first DE production of “The Threepenny Opera”, lyrics by Bertolt Brecht and music by Kurt Weill. For those of you over 50, you may remember Bobby Darrin making his signature song “Mac the Knife”.

Through December 9. REP.udel.edu 302.2204

New Candlelight serves us a 'banquet' of holiday Song & Dance

Veteran Director Bob Kelly pulls together a panoply of old and new theatrical faces for a heartstrings tugging ode to the most wonderful time of the year in "Christmas by Candlelight".running through December 23.

No real plot, simply a very diverse musical array of what Christmas means to family and loved ones; a sumptuous banquet of sentimental, humorous and joyous musings.

Renown composers by the score were listed, many from Broadway. Jerry Herman's “We Need A Little Christmas” opened the show, perhaps a metaphor for the global conflicts abroad and the divisiveness nationally. Jule Styne and Sammy Cahn, partners in numerous Brdway shows also wrote “Let It Snow” and “Christmas Waltz”. My favorite '50's cowboy, Gene Autry composed “Here Comes Santa Claus”. Frank Loesser, of the immortal “Guys & Dolls” wrote “Baby It's Cold Outside”, finessed charmingly by Colleen McGinness and Rick Fountas. Meredith Willson of “Music Man' fame composed “It's Beginning To Look A Lot Like Christmas”. The chestnut, “Christmas Song” by Mel Torme, channeled by Timothy Lamont Cannon provoked some dewy eyes by those at our table.

This is a show of firsts: the first time ice skating was danced on NCT stage. Ice dancing choreographer Peter Bricotto gingerly navigated the tiny stage and exhibited fluid moves.

One of my favorite and certainly one of the most supremely talented choreographers in the region signed on for the show, Jen Quinn. Hopefully she will become a staple at this venerable venue. There were multitudinous tempo changes in the multitude of numbers and Jen's charges did not miss a step.

The vocal stars of the show – as they have in past productions – are David Snyder and Erica Scanlon Harr. Erica serves as emcee, segueing from one theme to another. Her monologue is perhaps a bit schmaltzy and at points, slows the energy created by the talented ensemble.

However, the duos clarion voices excel in “Have Yourself A Merry Merry Christmas” and “Silver Bells”. Music Director David Wills did a wonderful job in ensemble harmonizing of the joyous and jubilant religious oeuvres such as “Little Drummer Boy”, “O Holy Night” and “Do You Hear What I Hear”, featuring the beauteous Lindsay Mauck.

Mr. Cannon doubles down as Costume Designer. I am well aware his budget is slim. Yet, the outfits on the women sparkle like the top of the tree.

Another new face behind stage is Tracy Friswell Jacobs, who has brought several 9-13 year olds to perform. Some of the kids' bios are precious: Lily Grace Nordheimer is “super excited to be on the main stage”; Evelyn Schiavone declares “I have been an actress for 4 years!!!”

A tender and warm hearted show for the entire family. A great gift and a great way for your kids to be inspired by seeing other kids perform.

NCTstage.org Through December 23 302.475.2313

Tracy Jacobs has her own show with these kids and more upcoming on the Laird stage at Tatnall school on 15 and 16 December. NYOTC.org Tickets 302.595.4160