The Sound of Music

With two recent live-to-air TV showings in the U.S. and UK pulling phenomenal ratings, it’s clear that the producer’s claim that Rodgers and Hammerstein’s The Sound Of Music is the world’s favourite musical is true. Not only does it have nuns and Nazi’s, but also kids, a wedding, and a clutch of songs so embedded in everyone’s psyche that you could almost call them folk ditties.

Who doesn’t know “Do-Re-Mi”, “My Favourite Things” or “Climb Ev’ry Mountain”? We’ve been singing them for years and probably will continue to do so for lifetimes to come. It’s a glorious score and this production brought it vibrantly to life thanks to a star performance by Amy Lehpamer as Maria. Tomboyish, feisty, and with more than a touch of Julie Andrews in her vocal inflections, she was the lynchpin that held the show together. If her opening title number didn’t sweep you away, her “Do-Re-Mi” certainly did. She and the kids lifted it into the showstopper class. It was exhilarating.

At over six-foot Cameron Daddo had the matinee-idol looks and stature for the Captain, sang pleasantly, and handled the switch from firm disciplinarian to loving father with aplomb. The role has limited vocal opportunities, but in “Edelweiss” he had a nice solo moment and with Lehpamer charmed on the second act duet “Something Good”.

Jacqueline Dark brought warmth to the Mother Abbess and lifted the roof of the theatre with her passionate “Climb Ev’ry Mountain”, one of Rodgers’ most inspirational ballads.

Max and Elsa, secondary but important characters, were in the more than capable hands of David James and Marina Prior. Bringing presence and stage-savvy to their parts, they pushed the irony and edge of “How Can Love Survive” and “No Way to Stop It” to the max. James flustered with finesse, whilst Prior sang like a dream.

Stefanie Jones was a sweet Liesl and sang “Sixteen Going On Seventeen” appealingly, but newcomer Du Toit Bredenkamp as Kurt was the weakest of the principals. A difficult role - a lovesick teenager in the first act and a nasty Nazi in the second - his transition lacked credibility.

The kids were all great.

A major part of the success of this production was Arlene Phillips’ choreography, and Robert Jones’ sets and costumes, which evoked the era with style. Despite sounding thin at times, Luke Hunter’s keyboard-heavy orchestra was never obtrusively loud, Mick Potter and Mark Henderson’s sound and lighting added class to an FX-heavy production, whilst Jeremy Sams’ direction kept it moving with speed.

Thanks to a trimmed book and a jigging of the score, fifty-seven years on The Sound of Music is in good shape.

Peter Pinne

Photographer: James Morgan.