This year's production of Meredith Wilson's Broadway musical The Music Man was a triumph, the closest the veteran English-language troupe has ever gotten to perfection. Everything was natural, flowing, believably cast and realized with authenticity.

The sets of Yardena Alkan were varied and apt. The state-of-the-art sound system allowed us to hear every word, while the blend of acoustic and synthetic sound play-back (created and conducted by David Waldman) was

balanced with taste, ingenuity, and convincing continuity.

Now in its 21st production in as many years, the light opera's large cast featured a generous contingent of youngsters - a second generation of LOGON thespians following the lead of parents and grandparents.

The Music Man is the story of a travelling salesman (convincingly played by Stephen Howden) who is in love with the River city, Iowa,

librarian-piano teacher (Myra Bennett, engaging as a singer actress).

Irate citizens led by the mayor (Amiel Schotz, a model of melodrama) demand his hide, before realizing that he has sold them much more than old instruments and colorful clothes - he has given them a dream.

Among the production highlights are the twin quartets: the graceful and polished Ladies committee (Debby Lamdan, Arlene Gilboa, Jane Davidson and Gail

Greene) and the vocally and dramatically assured school board barbershop quartet (Ed Spitz, Arnie Gross, Eric Isaacson and Alan Cohen).

Notable supporting casters include Jeffrey Moskowitz as the competitive salesman out to tell the truth about the "Professor", Victoria Howden as the mayor's daughter, and Dov Landzbaum, the music man's accomplice in crime.