EB will pay shipping costs to return the unit to it's owner. Any material or workmanship determined defective by EB within the one (1) year term shall be repaired or replaced by without charge for parts and labor provided the unit is returned, transportation costs prepaid, to Ernie Ball, Inc., 4117 Earthwood Lane, San Luis Obispo, CA 93401, or to such facility authorized by EB. (hereafter "EB") warrants for one (1) year from date of purchase by the initial retail purchaser that this product shall be free from defects in material and workmanship. HH - 1 DiMarzio Rainmaker - neck 1 DiMarzio Dreamcatcher - bridge Fishman Powerbridge piezo saddlesġ0p-13p-17p-26-36-46 (RPS 10 Slinkys #2240 with added P01156 for 7 string models)Įrnie Ball, Inc. 022♟ tone capacitorģ-way toggle pickup selector, with custom center position configuration 3-way toggle piezo/magnetic selector, push/push mono/stereo button (back cavity) Graphite acrylic resin coated body cavity and aluminum control coverĬustom Music Man® active preamp push/push volume for gain boost, 500kohm push/push passive tone for custom 2 pickup configurations. Okoume with maple top and mahogany through neckĬustom John Petrucci Music Man® floating tremolo of matte black, hardened steel with Fishman Powerbridge piezo saddlesĢ4 - Medium Jumbo profile, Stainless SteelĦ String: 1-11/16" (43.0 mm) at nut, 2-1/4" (57.2 mm) at last fret 7 String: 1-7/8" (47.6 mm) at nut, 2-19/32" (65.9 mm) at last fretĪdjustable - no component or string removal They’re cool, but they don’t help with the production’s lack of clear, resolute purpose.12" wide, 1-3/4" thick, 37" long (30.4 cm wide, 4.5 cm thick, 94.0 cm long) Especially since the design, by Santo Loquasto, also seems unsure of what it wants to say about River City: eye-popping as they can be, the visuals range from romantic realism to stylized topography to overhead panoramas to even a backdrop with fake people. Jackman seems so reluctant to fill out the role of the seducer in chief that, in some of the scenes, he almost retreats into the scenery. The revival has cut itself off at the knees over worries about how it will go down in today’s less-then-permissive environment. Heck, it’s the core of the show! What else you gonna do in a River City after you’ve picked a little and talked a little? But somehow, the stalks of corn refuse to smolder. And she has Hugh Jackman for her motivation. Marian discovers sex for the first time her longed for white knight had better be good in the hay. The material, of course, is asking her to suspend her usual judgment and fall in love - and not love in the reading-room sense of the word, either. That’s because Foster starts out invulnerably furious at the very idea of Hill and then runs out of time to show us her character’s change of heart. That’s especially acute in this production, directed by Jerry Zaks, since you never see the pair fall in love. Even then, Willson suggests the future will be tough for both of them. Hill’s a no-good seducer until the final moments of the show when, as he puts it, he gets his “foot stuck in the door” due to the persistent challenge of Marian the librarian, played here by Sutton Foster. What other musical has ever coined anything like “Shipoopi?”Īnd instead of the usual hero, Willson came up with Harold Hill, a slimy sleaze merchant who is trying to take the town’s cash as it buys band instruments for its kids. Most musicals struggle to justify why their characters suddenly burst into song: Willson found music and rhythm in everything from the clatter of a train carrying salesman on the Rock Island Railroad, to the sound of a librarian stamping books in a reading room, to the deliciously frantic lyrical juxtaposition of prosaic Midwestern towns whose wacky names had never shown up before on Broadway. Willson was a true poet of the Rialto and, despite its reputation as a wholesome, old-fashioned show, “The Music Man” actually was a feast of experimentation. Meredith Willson’s masterful 1957 show about a con man who thrives in a small Iowa town in 1912 still has art to impart.
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