Music Man

Hilburn refers to himself as "a reporter along for the ride." In other magazine articles I've read, reporters have referred to themselves as "visitors" meeting with the famous movie stars. There is something very irksome in the way that reporters refer to themselves in the third person. This is an outdated reportorial style that is very condescending. What is the big deal about a reporter simply mentioning himself in the first person? I realize you wish to sound objective, but this isn't helping your cause.

Take advantage of this chance to hear the pipa ? a Chinese lute with a distinctive pear shape ? from one of the instrument's most famous players, Wu Man. Her program, which is said to transcend musical genres, complements an exhibit on early Chinese photography. Getty Museum, 1200 Getty Center Drive, Los Angeles. 1:30 and 3 p.m. Sun. $55. (310) 440-7300. http://www.getty.edu

It was anything but trouble in River City for organizers of a campaign to raise money for the Music Man Square. Shirley Jones, who starred in the film version of "The Music Man," was on hand as organizers announced they had raised $5 million for the project. Six years ago, Rosemary Willson, widow of playwright-composer Meredith Willson, pledged to match up to $5 million raised for construction and operation of the Music Man Square.

In the biggest changes yet to the troubled Broadway musical "Spider-Man: Turn Off the Dark," its producers announced Wednesday that director Julie Taymor will be stepping down from her daily responsibilities with the production. They also postponed its official opening for the sixth time, to an unspecified day "in early summer. " Taking Taymor's place is Philip William McKinley, whose only Broadway credit is the 2003 musical "The Boy From Oz," which starred Hugh Jackman. "Spider-Man," which began preview performances Nov. 28 at the Foxwoods Theatre in New York, has been plagued by production delays, cast injuries and a spiraling budget that, at $65 million, makes it the most expensive show in Broadway history.

JOEL FLATOW'S life is all about connections. Over the past decade, he's used his political links and savvy to help the recording industry wage its fight against piracy. Now he's using the musical ones to help politicians and nonprofit organizations raise the funds for their causes. In the process, he's become the go-to guy for the events that promise to make both this summer's national political conventions memorable occasions: Want an A-list singer for your Democratic National Committee party?

It's hard to resist the story of the flimflam man who blows into little River City, Iowa, in 1912 and, despite his fraudulent intentions, manages to sell the town a few things it really needs: art, romance, confidence and the satisfaction of group effort. To the good fortune of Civic Light Opera of South Bay Cities, "The Music Man's" charm shines through even in an unremarkable production.

"The Music Man," the first American musical ever staged in China, opened today with an old-fashioned production of the 1957 Broadway show about swindler-salesman Harold Hill and his escapades in River City. "Seventy-Six Trombones" rang through Beijing's Tianchao Theater as the all-Chinese cast of 60, many of them in blond, red and light brown wigs, danced and sang to Meredith Willson's score. The lyrics were translated into Chinese, and the audience applauded loudly.

"The Music Man" still has the capacity to charm--provided it offers a sizzling Professor Harold Hill, the tour-de-force turn upon which the musical rises and falls. In Musical Theatre West's production at La Mirada (and later moving to Long Beach), Squire Fridell projects a mild affability in this central role but never builds the head of steam required to pop the corn in Meredith Willson's period paean to the American heartland.

To get more than 50 musicians in an orchestra to play as one is never easy. And if those 50 musicians are between the ages of 11 and 17, there may be those who would say: "Impossible." Then there is Richard Rintoul, conductor of the Glendale Youth Orchestra, who prefers working with kids. "There's a lot to put up with," he admitted. "But once they get it, it's great." The music, that is, and the Glendale Youth Orchestra will be making it Tuesday.

Director Morton DaCosta's 1962 screen version of Meredith Willson's "The Music Man" is arguably one of the best translations to film of any Broadway musical. But seen in its panned-and-scanned videotape version to fit the shape of a TV screen, it's nothing short of a disaster. The intricate staging is lost, the dance numbers mutilated, 76 trombones reduced to more like 26.

The brash and controversial Miami Hurricanes of the 1980s, the taunting, end-zone-celebrating villains of college football from that decade, are the subject of a new documentary called "The U," a film by director Billy Corben, which is part of ESPN's "30 for 30" series. The documentary is scheduled to be televised at 6 p.m. on Dec. 12, following the presentation of the Heisman Trophy. "Whether you're a lover or hater of the Hurricanes, it's a fun two hours," Corben said during a conference call this week.

The early scenes of the documentary look like some lost reel from "This Is Spinal Tap," spanning what seems like half of rock history -- complete with hem lengths and haircuts. But the protagonist is not a metalhead but a Zelig-like figure: Here he is as a squeaky-clean pop idol in the Frankie Avalon mode, gazing bashfully. He shows up on L.A.'s Sunset Strip at its wildest. Next he's part of a mop-topped boy band in swinging London.

Every intense music fan presumes he or she has what it takes to be a TV or film music supervisor, and they have a box of clattering mix tapes from high school to prove it. Yes, it was clever how you started with "Please Come Home Baby" by Tom Waits and finished with Mel Torme's "Comin' Home Baby," but there's more to the job than making "High Fidelity" lists. Or is there?

JOEL FLATOW'S life is all about connections. Over the past decade, he's used his political links and savvy to help the recording industry wage its fight against piracy. Now he's using the musical ones to help politicians and nonprofit organizations raise the funds for their causes. In the process, he's become the go-to guy for the events that promise to make both this summer's national political conventions memorable occasions: Want an A-list singer for your Democratic National Committee party?

It was hustle and flow, all right. Terrence Howard, the Oscar-nominated actor best known for his role as Djay, the rapping pimp protagonist of Craig Brewer's acclaimed 2005 film, was doing everything but serving smoked Gouda to the 40 or so people gathered Thursday night for the listening party for "Shine Through It," his Sony/BMG Records debut.

"Santouri the Music Man," a harrowing account of a greatly gifted artist's slide into heroin addiction, is another sweeping yet incisive film from Dariush Mehrjui, one of Iran's most accomplished and courageous filmmakers for four decades.

Jeff Goldblum and his hometown of Pittsburgh, whether it likes it or not, have combined to create a surprising summer delight. "Pittsburgh" is a witty variation on a Christopher Guest mockumentary that swirls together fiction, reality and an unlikely cast including Goldblum, Ed Begley Jr., Illeana Douglas, Moby, Conan O'Brien and unsuspecting Pittsburghers, all as themselves.

In the past I have applauded the Los Angeles Times, but this time the Travel section broke my heart with "Fertile Imagination in Iowa," [Sept. 12]. It omitted Mason City, Iowa, and Music Man Square, named for Meredith Willson, composer of "The Music Man." Willson was born in Mason City and lived there until he was 17. The family home and the Meredith Willson Museum, with rare musical instruments, are in the square. Bonnie Changstrom-Simon Laguna Beach Writer Beverly Beyette did a superb job of ferreting out the towns and scenes of eastern Iowa that, from my experience, are of the greatest interest.