The Sound of Music

Some of the best anti-war stories are those with the horrors just out of sight but foreshadowing what is to come. That’s the strength of The Sound of Music, written by Howard Lindsay and Russel Crouse, based on Maria von Trapp’s memoir of her family’s pre-war escape from their beloved Austria to Switzerland to escape the Nazis. The story lures you in with the singing children, spirited Maria and enigmatic Captain Von Trapp, and then the clouds of war loom. There are so many wonderful songs in this musical, it must be a delight to perform – and that enjoyment shines through in the performances by the talented QMT cast and an orchestra pit of nearly 20 musicians.

The strength of this production is in its harmonies – a team effort of melodic vocals, which also beautifully exemplify the ensemble piece, featuring some of the cream of the state’s highly trained musical theatre community, including professional guests. Kathryn Bradbury from Opera Queensland is a pure delight as Mother Abbess, with her moving solo ‘Climb Every Mountain’ a show highlight. As well as adding their fine voices, Kellie Wilson, Kristie Rabbitt and Catherine Schwarten as the Sisters in the Abbey inject some great comic timing too in the early performance of fan favourite ‘Maria’ – as in ‘How do we solve a problem like ...’  In her first production for QMT, Lara Boyle is pitch perfect as Maria, capturing her rebellious streak and sense of fun, with an impeccable vocal on the key show tunes ‘The Sound of Music’, ‘My Favourite Things’ and ‘Do-Re-Me’. You really feel her love for the Von Trapp children, and dedication to their father.

As Captain Von Trapp, Nathaniel Currie captures the essence of the grumpy old sea commander who melts under Maria’s warm allure. His ‘Edelweiss’ is a clear emblem of the Captain’s love of his county without sliding into sappiness. And I loved ‘Something Good’, Maria and the Captain’s duet when they realise their love for one another. There’s a nice delicate touch in the direction by Deian Ping, who also designed the gorgeous costumes which have been lovingly sewn by more than 20 people on the production list. From the children’s play costumes made from old curtains, to Maria’s fabulous wedding dress, it is a really stunning achievement, aided by a fabulous lighting by Tom Dodds, with a dedicated production team responsible for the set construction and painting. Well done to all.

In all musical ensembles, the supporting characters and cast are just as important as the leads, and I like the fact that the direction in this production treats all musical numbers with equal priority. As the Baroness Elsa and Max, Kate Retzki and Kris Brennan provide character roles of distinction, moving the plot along with some of the lesser-known tunes and their great sense of light comedy. The Von Trapp children (in the performance I saw) – Madeline Harper as Liesl, Aiden Huntly, Sienna Randall, Genevieve Krause, Benjamin O’Regan-Lambert, Tia Godbold, and Matilda Wilson – were all exceptional and each had their own audience-pleasing moment. I’m sure some of QMT’s future stars are in their midst. As Rolf, Liesl’s would-be beau, Quinn Chambers was convincing as the romantic teen who is recruited to the Hitler Youth. The duet ‘Sixteen going on Seventeen’ with Madeline Harper was a winning piece.

Moving the story along are some lovely comic performances from the team, including Tim Hildebrand as Franz and Patricia Rhodes as Frau Schmidt, and some delightful choreography by Isabel Byrne. The musical direction and conducting by Julie Whiting shows her vast stage experience, her musicians keeping the pace and pitch right on the money.

The capacity crowd at the Twelfth Night Theatre thoroughly enjoyed this production and you’ll certainly leave the theatre humming those wonderful tunes. 

Beth Keehn

Images: Creative Street

Find out more: https://www.queenslandmusicaltheatre.com/