The Sound of Music

Though local musical theatre companies have faced hard times over recent years, Rockdale Town Hall’s asbestos scare has now proven blessing in disguise for theatre in the area.

The previously tired crumbling venue has been restored to something even better than its long-forgotten ‘glory days’, with audiences and performers benefitting from enhanced facilities, access and technical upgrades.

Stage design is now challenged to compete with the sleek, stylish lines of the venue, and in this production it is found wanting, a pity when Rockdale Musical Society’s The Sound of Music ticked many other boxes.

In any production of this beloved musical classic, it’s the Maria, and her chemistry with the small tribe of children in her charge that really counts. Melissa Stewart is delightfully engaging as the governess, Connecting with the kids and radiating personal warmth, while delivering vocally on a string of Broadway standards.

Individually, and as a group, the likeable youngsters playing the Von Trapp children contribute the essential energy and charm, generally establishing strong individual characters.

Under David Lang’s assured musical direction the orchestra never puts a foot wrong with the evergreen score, while the vocal interpretation, notably the choral work of the nuns, falls pleasingly on the ears.

Stephen Halstead’s transition from gruff military man to loving father as Captain Von Trapp, along with the growing mutual attraction between himself and Melissa Stewart’s Maria, are subtly and credibly developed.

Malcolm Purvis delightfully embodies the very spirit of musical comedy as Max, the concert manager, pairing well with bubbly Elizabeth Lowrencev in the show’s old-fashioned comic relief.

Megan Chalmers as Mother Abbess rounds out Act 1 terrifically with a rousing ‘Climb Every Mountain’, balancing some earlier inclination to rush her dialogue.

Among smaller supporting roles Veronica Saville’s irascible yet good-hearted housekeeper Frau Schmidt is a clear stand-out.

Nazi moments, with potential for real menace, tend to be played out in stereotype and melodrama.

Sometimes too, a little more attention to small detail is needed.

Though I intended to critique the set design, an after show conversation makes it clear that sets were a scenery recycling miscalculation.

On other occasions I might complain about the frequent closing of the Town Hall’s plush red front curtain in the old-fashioned manner for scene changes, but here, well-lit, it proved an attractive transitional backdrop.

Aided by improved technical facilities, lighting and sound were consistently excellent.

It’s disappointing in the end that scenic illusion couldn’t match some lovely performances and a splendid musical interpretation. This time it was definitely the songs you came out humming.

Neil Litchfield