The Sound of Music

The Sound of Music with less sugar and more soul is how I’d describe the London Palladium production of the classic musical.  Currently gracing Adelaide’s Festival Theatre during its national tour, the production is stirring and simply superb; a must-see for those who can afford the tickets.

Rodgers and Hammerstein musicals are not everyone’s ‘drink with jam and bread’, with many people critical of the underlying sentimentality, but even they may be pleasantly surprised by the London Palladium adaptation of this work. Andrew Lloyd Webber has deliberately not followed the movie version, instead focusing on the original theatre script, with a few exceptions, such as adding ‘I Have Confidence in Me’ from the film and substituting ‘An Ordinary Couple’ in Act II with ‘Something Good’.

Based on the true history of The Trapp Family Singers, the storyline needs little explanation and is, of course that of young novice nun, Maria Rainer, who is sent by her local convent to spend a few months at the home of widowed navy captain and disciplinarian, Captain Georg von Trapp. There, she is expected to learn to control her youthful exuberance and be a nanny for his seven children. Set in 1938 Austria, this is a love story but also the story of von Trapp’s steadfast and risky defiance of Nazi occupation.

From the beautiful opening scene, in which nuns carry candles from stage to auditorium and sing gloriously, right through to the dramatic swastika-draped finale where armed Gestapo block the exits, this production has immense emotional impact without being saccharine.

Amy Lehpamer is a delightful Maria, developing the character from an unsophisticated girl to a loving young woman who finds her place in the world. Her scenes with the von Trapp children, including with numbers such as ‘My Favorite Things’, ‘Do-Re-Mi’ and ‘The Lonely Goatherd’ are wonderful, such is her natural rapport with the youngsters.

Cameron Daddo is very good as Captain Georg von Trapp but interprets the character as less remote than former portrayals audiences will have seen, which somewhat changes the dynamics one expects to see between von Trapp and Maria. Daddo’s singing voice is pleasant but does not match the supremely accomplished voices surrounding him on stage.

The standout performance comes from Jacqueline Dark as The Mother Abbess. She embodies the firm but caring Mother and her towering, glorious voice closes the first act with a stunning rendition of ‘Climb Ev’ry Mountain’.

Marina Prior is an impressive Baroness Schraeder, even making the character likeable. David James is very fine as Max Detweiler. His nuanced performance moves expertly from exuberant self-obsessed promoter to the bravery of Max’s selfless final act to help the von Trapp family. Prior and James do well with ‘How Can Love Survive’, despite it not being among the most well-known of this classic musical’s numbers.

Lorraine Bayly is terrific as housekeeper Frau Schmidt, Stefanie Jones is an exquisite Liesl and in his first professional role, Du Toit Bredenkamp is very good as Rolf Gruber.

The remaining cast and ensemble are wonderful, but it is the hugely talented Adelaide youngsters who play the younger von Trapp children who inevitably steal the heart of everyone in the audience. On opening night Anna McCauliffe (Gretl), Danika Roach (Marta), Alicia Hammond (Brigitta), Oscar Bridges (Kurt), Jacinda Tsakalos (Louisa) and Nathan Stafford (Friedrich) were dazzling; true professionals.

Director Jeremy Sams has left nothing to chance in this lavish, atmospheric production. In addition to the performances, every aspect is superb, including the set, orchestration, costumes, lighting and sound.

This production of The Sound of Music is a splendid night of musical theatre that will surely remain with audiences for years to come.

Lesley Reed

Photographer: James Morgan