The Sound of Music

The final collaboration between Richard Rodgers & Oscar Hammerstein II, The Sound of Music (based on the 1949 memoir 'The Story of the Trapp Family Singers') has stood the test of time. Sixty-five years since its stage debut (nominated for 14 Tony Awards) and nearly sixty years since its movie release (winning five Oscars including Best Picture) audiences still can't get enough of it!  The attraction of this musical is universal and can even soften the most resistant individuals who are not typically interested in theatre. Shortly after my parents were married my mother 'urged' (more like dragged!) my father (much to his embarrassment) to a local production of the show. It wasn't long until he was under its spell like millions of others and was hooked on musicals for life. I can thank The Sound of Music then for my love of all things theatre! 

What makes it so appealing? Let's start at the very beginning...... The storyline. The story (based on fact) is compelling and has something for all, including romance, comedy, intrigue and a dramatic ending. The music. Arguably one of Richard Rodgers most appealing scores. The songs. The instantly hummable 'Climb Ev'ry Mountain', 'My Favourite Things', 'Do Re Mi', 'Sixteen Going on Seventeen' and the title tune 'The Sound of Music' linger well after you exit the theatre. I would hesitate to name another musical that has such well-crafted and catchy songs, hit after hit!

Boasting an exceptional ensemble of 43 talented performers, this sumptuous production helmed by Director Karen Shnider offers all the classic elements viewers anticipate, sprinkled with subtle twists to captivate you from beginning to end. Set design by Bianca Pardo employs the use of a full stage scrim depicting Salzburg and the Austrian Alps. Another scrim features four Gothic arches of the Nonnberg Abbey, whose pointed arches draw the eye upward and create a sense of spaciousness onstage. The static set for the interior of the Von Trapp villa features huge multi-paned windows, a large staircase, period furniture and a fireplace. During the exterior scenes large plant boxes line the back of the stage creating the sense of being outdoors. It's great to see hand-made and hand painted sets in this era where LCD technology is used so often. The sound design by Michael Honey achieves a harmonious blend of dialogue, music, and sound effects, ensuring that each element is perfectly balanced and at optimal levels. The lighting design by Max Woods played a crucial role in creating different worlds, times, and places, including the abbey, the Austrian mountains, and both interior and exterior of the Von Trapp villa. Karen Spencer’s costume design, which encompasses a range from traditional Austrian attire to elegant evening wear, nun’s habits, and children’s play clothes, have been meticulously researched and thoughtfully curated to authentically reflect the place and era.

Bravo to the orchestra for a splendid performance! The exceptional musicality and confident performance of the 18-piece orchestra can be attributed to the unwavering dedication and hard work of Musical Director Kent Ross and his Assistant Alex Byrne (who was MD for tonight's opening night performance). Choreography by Suzie Pappas is relatively simple throughout. Her aim is to 'integrate dance and movement seamlessly and organically as a storytelling device.'  Pappas does so with aplomb! In 'So Long, Farewell' the children cleverly make the shape of a clock with their bodies and two of the girls pop out like cuckoo's. In the scene when the children run to Maria's room frightened from the storm, they make hand puppets from their socks and sing 'The Lonely Goatherd'.

The subtle dance movements and intricate details are what truly tug at the heart strings in this show. When Von Trapp and Maria are dancing the 'Laendler' in the ballroom scene we see Kurt (played to perfection by Matteo Maxwell in this performance) upstage left copying his fathers every move. It's such a powerful scene showing that children are indeed a shadow of their parents and need love, acceptance and a worthy example to follow. Another gut-punch moment is when Von Trapp hears the children singing for the first time and joins in their chorus. He puts his arm on Friedrich and Kurt's shoulders and then Kurt reciprocates his father’s affection by grabbing onto his hand. Time to get the extra tissues! The tender performance of 'Edelweiss' performed by the Von Trapp family at the Salzburg Festival was a highlight of the show for me. The emotional intensity was so overwhelming (even the cast were tearing up) that I couldn’t determine if the actors were genuinely experiencing those feelings or not. Subsequently, when the audience was prompted to join in singing, it proved challenging to articulate the lyrics without succumbing to tears. Powerful storytelling in the capable hands of Director, Choreographer and the brilliant cast!

Tayla Dwyer is the epitome of Maria, the free-spirited novice nun and later governess to the seven Von Trapp children. Her diction, composure and vocal prowess are second to none. Tayla's heartfelt vocals soar on the opening number 'The Sound of Music', invigorate our spirits during 'My Favorite Things', convey a sense of intimacy with 'An Ordinary Couple' and warm our hearts in 'Edelweiss'. It almost feels like the role of Maria was written especially for Tayla. John Parncutt (Captain Von Trapp) brings a commanding presence to his role, capturing the character’s stern exterior as well as his underlying warmth and vulnerability. His renditions of 'The Sound of Music' (along with the children), the duet 'An Ordinary Couple' and 'Edelweiss' are touching highlights of the production. Parncutt also proves to be an exceptional boatswains caller on the silver whistle. A much sought after skill to add to his resume! 

Multi-award winner Amanda Stevenson brings her decades of performing experience to the role of Mother Abbess. Her outstanding performance of 'Climb Ev'ry Mountain' nearly brought down the house (and the Nonnberg Abbey!) at the end of Act One and Two. Keren Evans (Sister Berthe Berthe), Manon Franiatte (Sister Margaretta), Christine Wood (Sister Sophia) and Stevenson's rendition of 'Maria' is playful, witty and full of energy. The quartet along with the nun's choir (made up from ensemble members) sing like angels during the 'Preludium', 'Maria' (in the wedding scene) and other hymns. The ethereal quality of the choral and acapella numbers are full of exquisite harmonies and counterpoints receiving rapturous appreciation from the audience. 

Kate Thurkle's experience as a dialect coach puts her in good stead as Baroness Elsa Schraeder, the cultured, elegant and somewhat snobbish fiancé of Von Trapp. Brett O'Meara (with his many years of performing the G&S canon) is tailor made for the role of Max Detweiler, the charming and witty opportunist, providing much of the comic relief throughout. The captivating performances of Thurkle and O’Meara in ‘How Can Love Survive?’ and ‘No Way to Stop It’ showcase their well-honed vocals, acting passion and flair, and highlight the significance of these relatively unknown songs cut from the 1965 movie. Kael D'Alterio plays the role of Rolf to perfection, as both a dewy-eyed romantic, and a young man struggling to find his place in a tumultuous time. D'Alterio's performance of 'Sixteen Going on Seventeen”' is exceptional and comparable in star quality to Daniel Truhitte’s portrayal of the role in the film. Other notable performances include Shivanii Cameron (Frau Schmidt), Darcy Harris (Franz) and Mark Curran (Herr Zeller).

And lastly but definitely not least! The children........... Drops of golden sun. The collective brilliance displayed by the seven Von Trapp children as they perform together is so overwhelming that it leaves little room for attention to be directed elsewhere. Charlotte Holland as Liesl is a force to be reckoned with. Her exceptional singing and engaging acting make her a dynamic performer who could captivate audiences on any stage in the world, including Broadway! The rapport between Holland and D’Alterio during their duet 'Sixteen Going on Seventeen' was genuine, captivating, and they delivered a remarkable performance. The remaining children in tonight's performance included Damon Willis (Friedrich), Stephanie Adamson (Louisa), Matteo Maxwell (Kurt), Ruby McGrath (Brigitta), Xoli McGinnes (Marta) and Adeline Baker (Gretil). Their lively performances of 'Do-Re-Mi', 'The Lonely Goatherd' and 'So Long, Farewell' captivated the hearts of the audience. Their acapella rendition of 'The Sound of Music' was ethereal and seemed to transcend the physical realm. Alternates include Luca Moutsos (Friedrich), Niki Georgas (Louisa), Ethan Lockhart (Kurt), Jessica Brown (Brigitta), Ayda Melody Hendricks (Marta) and Penelope Amato-Gifford (Gretil). Every one of these exceptionally skilled children showcased their talents with great attentiveness and agility, as if they had performed many times before. It was astonishing that they displayed no signs of nervousness on their opening night.

Melbourne's National Theatre is alive with the sound of music. The standing ovation tonight is testament to the brilliance of this heart-warming production.

Theatrical's The Sound of Music is sure to fill your heart and you'll sing once more.

Guaranteed to sell out, get your tickets before they're gone!  It's as easy as A B C or Do-Re-Mi.

Jonathan Cox

Photos: Nicole Cleary