I have an interview in Friday's 7 section with Greg Grannis, who is commanding an impressive army of 63 cast members plus full orchestra in CenterStage Clovis Community Theatre's production of "The Music Man," which opened Thursday at the Mercedes Edwards Theatre. Here's a continuation of the interview:

What's your own background with "The Music Man"?

"The Music Man" was the very first full-scale production I was cast in as a kid. I so admired the teen dance ensemble in that show that when I came home from college, The Music Man was the first show I did upon returning home...that time as a teen dancer. Since then, I've helped out on several other productions, and finally (after having performed the show over 100 times myself), now am getting to direct and choreograph the true American classic that first cemented my love for musical theater. It feels a bit like everything's come full circle, with flashbacks of past productions popping into my head as I watch rehearsals. And it doesn't hurt that with my family's mid-western background, I feel like I actually grew up knowing some of the these characters in real life.

I know that your children are in the show, and I understand that Brent Moser (who plays Harold Hill) has children in the show as well. Are there other examples of multiple family members? Does this intergenerational feel change the backstage dynamic?

Yes, both mine and Brent's two children are performing, and there are many other intergenerational families involved as well. Leigh Murray, playing Mrs. Paroo, has her three girls in the cast, and several of the townsfolks are actually the parents of the kids in their "River City" family (River City being the fictional town where the show takes place). That's one of the charming things about this cast, that these are actually families playing families ... albeit 100 years ago. And while there may have been a couple "exchanges" between a sibling or two backstage, the dynamic that has been affected the most can be seen on stage. They don't have to "act" like families, they are families (ones that have been eating and sleeping Music Man rehearsals for six weeks now), which makes their performances even more real. I will say putting this show together has been a wonderful family experience, which is something Centerstage productions are known for. They truly believe the family that sings together, stays together...and it shows.

Talk about the scale and scope of this production.

Big. Huge. Enormous. Sometimes overwhelming. All words that I could use to describe the sheer size of this production. From the full cast (63 performers), to the Los Angeles built set (there's an actual full-scale train that comes toward the audience at the start of the show!), to the bright and colorful costumes (over 500 pieces worn by the cast) to the live orchestra that will be overflowing from the pit, there's nothing about this particular production that's small. I think it's a truly amazing sight, and unlike any locally performed show that has gone up in the area in recent years.

You get to work with a full, live orchestra. How does that add to the theater experience?

It's definitely a challenge, adding yet another dimension and a whole new set of variables that have to be perfected. But it's certainly worth the extra effort, as I don't find anything more exciting than hearing a live orchestra kick off a show's overture, making the audience feel as if they can reach out and touch the music being made right there in the theater. It's just a thrilling sensation, one that's getting harder to experience around the country as the cost of putting on a show with live music rises with every new theater season. Live music can really take a theater experience to new heights, and it's something I'd encourage everyone to come and appreciate for themselves.

What's your favorite production number?

That's a hard one, as there are three big ensemble numbers that really stand out: "76 Trombones," "Marian the Librarian," and of course, "Shipoopi." I think these numbers are so impressive that audience members will have a hard time picking which one they like the best...I know I do. I will say I couldn't be more proud of my 20 teen dancers who have worked harder than I've ever seen a dance ensemble work to make my choreography look even better than I could have imagined.

Talk a little about your cast. Who are playing the lead roles, and what do those actors bring to those roles?

I'm proud to say that without a doubt, we have one of the deepest casts I've ever had the pleasure of working with. Brent Moser is playing Harold Hill, and Sarah Lofgren is Marian, both experienced, talented actors that truly understand their characters and should be familiar to Valley audiences. Jennifer Goettsch is playing Eulalie MacKecknie-Shinn and Leigh Murray is Mrs. Paroo, two exceptional performers with tons of regional theater experience, and who both possess amazing comic timing. Our Marcellus (Darren Esqueda) has some mad dance skills as he leads our Teen Ensemble in Shipoopi, something not often seen in that particular role and something that really adds a lot to the performance. In addition, from Mayor Shinn and the Quartet all the way down to Winthrop and Amaryllis, everyone has put a little bit of themselves into their characters, which adds to the show immensely.

What's your biggest challenge as director?

One of the biggest challenges for any director when doing The Music Man is making the show as entertaining as possible, while at the same time respecting the characters and story being presented. It can be easy to take the characters and portray them as caricatures, because they can be so funny and played over the top (while the difference may sound subtle, the affect on the ultimate success of the show is huge). Meredith Willson himself went to great pains to protect the show's integrity, writing on the first page of the script that the show is meant as a "valentine" to his hometown of Mason City, and the characters should not be mocked or made fun of by mugging to the audience. With all the wonderful music and huge cast and colorful sets and funny lines, at its heart The Music Man is still a love story, something any Music Man director needs to keep in mind as he or she moves through the rehearsal process.

For people who aren't familiar with CenterStage Clovis Community Theater, give us a little background on the company. How many productions a year? Is this the largest-budget community theater production in the area?

Though I would not personally know the budgets of all the shows put up in the Clovis/Fresno area, I would have to say the cost to mount a CenterStage production has to rank among the highest. A non-profit theater company born in 1991, CenterStage has been presenting as many as three full scale productions a year at the MET in Clovis. Past seasons have included Hello Dolly!, The King & I, Guys & Dolls, Fiddler on the Roof, The Sound of Music, Oklahoma...and over 25 other shows in its 17 year history. Centerstage also provides scholarships to young performers looking to further their theater education. With its all-volunteer Board of Directors and immense dedication to bringing exceptional live performances to the community it serves, I couldn't be more proud to have been asked to share in CenterStage's creation of this year's The Music Man.

What do you most want audiences to walk away with?

Just that they got out of the heat for a fun-filled evening of truly enjoyable live musical theater. And if some of the folks watching walk away with a little bit of their faith in humanity restored, all the better. At the very least, I doubt very much that audiences will be able to leave without humming one of the show's many memorable tunes all the way home.