The Sound of Music
It was this reviewer's first opportunity to see a production by HMTC and visit this venue. Their 50 years of experience fueled expectations but this feeling was immediately tempered upon entering the huge hall; knowing from experience just how much these bigger spaces can swallow some productions. Any trepidation was cast aside however, as the nun ensemble deftly infiltrated the audience in the opening sequence to breathe a palpably reverential atmosphere into the cavernous space with strong, clear harmonies.
With this solemn tone established, it was time for Maria to wow us with that iconic eponymous tune and Chloe Obreza did not disappoint. There are singers and there are polished vocal artists, and Chloe is resoundingly the latter. With a modest, unfussy set placing greater emphasis on performance, Chloe does well to embody the exuberance of the wistful Maria we all know and love so well. Each Abbey scene linked together smoothly - with fun characterisations and strong vocals from Tracy Payne, Leanne Mordini and Lisa-Marie Cassar. The first dialogue scene between Maria and the Mother Abbess', then established a warm rapport between Chloe and the delightful Natalie Davis-Pratt as they launch into crowd favourite "My Favourite Things".
When we eventually travel with Maria to the estate of Captain Von Trapp the audience is given a proper taste of Kaitlin Hillier's precision choreography to the song "Confidence". This definitely kicked the company energy up to the level it needed to maintain. Enter the talented, (refreshingly age-appropriate) Von Trapp children - and all the warm and fuzzies were assured. As with most junior casts, the roles were dual cast with the exception of Friedrich. "Opening night cast" featured a delightful bunch of precocious young performers all with promising futures. Erin Pratt's turn as Leisl navigated the necessary fine line between poised and innocent with lively confidence.
While possessed of a naturally charismatic stage presence and fine vocal ability, Angus Trenerry's opening scenes as the Captain came across initially, as a tad restrained; especially given that the 'stern, meticulous taskmaster' template, fans of this show have come to expect.
However, in the second act, when he's called upon to express anger, the sudden, marked increase in projection was an absolute game changer. Which goes to show, it really doesn't matter how good you are and how good you look, if you can't be heard from the back rows. As for the minor principals, company stalwart Rick Barta gives a larger-than-life portrayal of Uncle Max and a radiant Melanie Sestic adds’a sophisticated edge to Baroness von Shraeder – however, she also needed to watch her volume. Andrew McBain and Emma Rose provide endearing support throughout as Franz the Butler and Frau Schmidt the housekeeper.
The major highlight is Davis-Pratt’s ‘hairs on the back of the neck’ rendition of “Climb Every Mountain”. And a surprise tech highlight is the vivid red wash lighting for the noisy, tension-filled ‘escape from the Nazis’ sequence late in the second act. All choreographed ensemble scenes, genuinely pop.
With uniformly engaging performances, a keen eye applied to the costuming and crisp musical direction, all combined to make this an all-round solid production. The directing ‘team’, cast and crew all have much to be proud of in bringing The Hills’ Hills Alive with the Sound of Music. (Look, the line was there, ok?)
Rose Cooper
Photographer: Grant Leslie
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