The Sound of Music

Pardon my indulgence, but I felt a connection to Captain von Trapp. Recently, due to my family ancestry, I became an Austrian citizen and like Georg I too received a stern letter from the military attempting to call me up for active service.  Thankfully I did not have to climb a mountain to avoid conscription.  

This production of The Sound of Music based on the Lloyd Webber London Palladium revival runs with military precision. It is tight, tuneful and barrels of fun.

The experience is affected by flashbacks to the movie. In twirls Amy Lehpamer as Maria singing The Hills Are Alive on a mountain. It looked slightly on the cramped side, compared with those stunning aerials of Salzburg.

Amy Lehpamer’s singing was impeccable and her mannerisms were evocative of Julie Andrews.

Cameron Daddo looked dashing as Captain Georg but did not capture the smouldering intensity of others who have played this role. He will grow into the part as the season travels around Australia.

If you have sat through the whole uncut three hours plus movie edition you will be very grateful at the edits to the script, and brisk scene changes in this production. Up goes the mountain, down comes the Abbey, in drops the splendid interior of the family home and so forth.

The stand out was Marina Prior as Baroness Schraeder. In the movie her character was on the snobby side and aloof from the children. In this interpretation she is a much warmer character (with a song How Can Love Survive to boot).

It was perhaps a more level playing field of competition for the affections for the Captain between Maria and the Baroness.

Jaqueline Dark soars too, with her stunning rendition of Climb Every Mountain. It was aided, as was the entire score, by the sumptuous orchestra.

The seven children on opening night were both absolutely gorgeous and faultless.

In this shorter version there is no puppet show for them – rather the only (not so) lonely goats spotted were on the red carpet out the front.

The Sound of Music remains a family favourite.

David Spicer

Stage Whispers' Editor Neil Litchfield was also at opening night.

Unashamed Sound of Music tragic that I am, this new, pacy, streamlined production proved an absolute treat.

Amy Lehpamer’s vibrant Maria charms; a playful young woman who instantly and genuinely bonds with the Von Trapp children in a delightful ‘Do Re Mi’. Instantly, this is the heartwarming musical I love.

Stefanie Jones’ Liesel is brings a delicious new spin to the oldest Von Trapp sibling. No naïve 16 year old, she’s feisty and intense, with the death stare she initially gives the new governess throwing down quite a gauntlet. She’ll take a bit more persuading than the youngsters.

From very outset, the glorious harmonies and rich gorgeous tone of the nuns’ ensembles are a major highlight.

The slick, cinematic qualities of this splendidly engineered production make the evening fly, as the enjoyment never stops flowing.

The classic Rodgers and Hammerstein score is such a comfortable and comforting place, part of any theatre lovers’ DNA. You don’t just leave the theatre humming it, you’re humming it at home as you head off to the theatre, and silently humming along all night to this splendid, lavish rendition.

Fifty-five years on, The Sound of Music continues to delight; it’s romance and family values tugging at the heartstrings, against a backdrop which touchingly juxtaposes the beauty of Austrian Alps, and the deep bonds of humanity with encroaching Nazism and the imminence of a word-shattering war.

My love affair with this landmark musical continues, unabated.

Neil Litchfield

Photographer: James Morgan.

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