The Sound of Music

Few would argue that The Sound of Music is the world’s most popular musical, an icon even for those who generally don’t embrace musical theatre. If you need further convincing, let me tell you that the entire season of Spotlight’s new production was already sold out in advance of its opening night.

There can’t be anyone who doesn’t know the story of the gruff widowed Navy father, the postulate nun he falls in love with, and the seven children who sing like angels even when dressed in recycled curtains. True, it is too long, and a little dated now, and the book could certainly use a rewrite…but the music is glorious and it’s a joy to revisit it yet again.

Director David Valks, fresh from his triumphant success with Gypsy (which won the Gold Palm award for 2023) treats the show with respect and reverence. Not for him the gimmicks of a singalong with a bouncing ball, or the cutting of several seemingly irrelevant songs. He is a purist who enhances the show by pursuing excellence in the areas that truly matter.

The result is some of the most stunning vocals you will ever hear on any stage, and kudos to Liam Gatt for his exemplary work as vocal Director.

The opening strains of the Nuns’ chorus are sheer perfection in the seamless blend of glorious voices. Carolyn Latter is in supreme form as the Mother Abbess and her voice gets better as the show continues, even reducing some audience members to tears with “Climb Every Mountain”.

The marvellous Melissa Quirk impresses with her amazing versatility as Sister Berthe. Who would have guessed that her comic skills as stripper Tessie Tura in Gypsy would be backed up with a glorious soprano voice and a witty (yet far more subtle) performance in a full nun’s habit.

That takes nothing away from the beautiful tones of Penny Larcombe as sister Sophia and the magic of Ebony Reeves as sister Margaretta. Add to this an ensemble of great voices and vocally the show is a triumph in the first five minutes.

If Gabriella Flowers was a little tentative as Maria in her opening number, she soon relaxed and gave us a Maria we could fall in love with. Warm and endearing, she won everyone’s heart. Her strengths are not just vocal either. In the dramatic scenes she was always credible and capable of touching the audience emotionally.

Chris Hawkins certainly looked great as Captain Von Trapp, but there is something so inherently likeable and relatable in the man himself that it took all of his skill to convince us he was a gruff and disconnected father. But from the time of his romantic connection with Maria it was a totally convincing performance and a romance we were all pulling for.

Neil Watson has a comfortable stage presence as Max, and it’s hard to believe he is such a newcomer to community theatre. I look forward to his next role. Nicky Fisser is suitably brittle (dare I say bitchy) and totally convincing as Elsa, and Matt Webber (though clearly nervous) brought lots of energy to Franz, though he had his work cut out being on stage with the inimitable Deb Tanner as Frau Schmidt. She made a 12-course banquet out of what is, at best, a snack of a role. OTT? Perhaps a little…but a welcome relief in a show which is slight on humour.

But it is the Von Trapp children who steal the show.

Grace Nean is a perfect Liesl, with an excellent feel for character and her space on stage. An impressive young actress with excellent vocal skills, she will undoubtedly go on to bigger things.

As her love interest Rolf, Jake Stubbs is full of promise. He is clearly a triple threat for the future, with a strong voice and classically trained dance skills.

Dakota Chanel wowed us as baby June in Gypsy and, although this role is not such a showcase, she brings that experience and charisma to the role of Marta. Jasmine Nean (Grace’s younger sister) oozes stage presence as Louisa; and Lacey Reeves makes a strong impression as Birgitta.

Dexter Ryan (Kurt) and Ashley Williams (Friedrich) show once again how important it is for us to nurture our younger men as future theatre performers. Though both exhibited first night nerves on their first entrance, they quickly settled professionally into their roles and were great support throughout.

Last but by no means least, Ella Morris-Fontes – a tiny and adorable red-headed Gretl - stole almost every scene she was in and was a total delight throughout.

With the exception of a couple of faux pas (surely Ms Flowers could learn three chords on the guitar instead of not moving her fingers), one of which being the last scene (in which all point to the auditorium as the route for escape over the mountain, and then the Von Trapps turn upstage to head in the completely opposite direction), this is a fine traditional rendering of a classic. Of course, it’s necessary for the final tableau, but it is anachronistic and bought titters from the audience at what should have been a genuine lump in the throat moment.

Jamie Watt’s lighting design is evocative throughout and Marcus du Toit’s sound is a treat, particularly the balance between the mics.

Once again, I marvel at the commitment of all those who work on a Spotlight production. They are all volunteers who give up their time to provide quality entertainment to a public that might not ordinarily go to the theatre. Long may they all continue to prosper.

Coral Drouyn