The Sound of Music

The Sound of Music is a beloved musical by Rodgers and Hammerstein, with the book by Howard Lindsay and Russel Crouse. It is based on the 1949 memoir of Maria von Trapp, The Story of the Trapp Family Singers. If you are a musical theatre fan, you know the story, and many of its songs; such is its legendary status. This Gilbert & Sullivan (G&S) S.A. version is directed by a talented team, featuring Director Adam Goodburn, Musical Director Liam Phillips and Chorographer, Vanessa Redmond, collectively leading a professional sounding orchestra of over 30 performers, two alternating casts of seven children, seven performance leads and 21 other players.  There is no scrimping on talented performers in this show. 

The show premiered on Broadway in 1959, winning five Tony Awards, and was adapted into a 1965 film that won five Academy Awards. It was the final collaboration between Rodgers and Hammerstein, marking the end of their legendary partnership when Hammerstein died of cancer soon after its premiere. 

For those new to the story, it is set in Austria in 1938, and follows Maria a spirited postulant at Nonnberg Abbey. This performance is consistently beautifully and powerfully drawn by Emily Fitzpatrick. Maria takes a job as governess to a large family of seven children, while she decides whether to become a nun and falls in love with the von Trapp children and eventually, their father, Captain von Trapp, played by ever charismatic performer, Andrew Crispe. The Captain is ordered to accept a commission in the German Navy but he opposes the Nazis. He and Maria create a clever plan and flee Austria with the children. The two leads are a joy to listen to and as is always the hallmark of G&S shows, the vocal work by all performers, is consistently of the highest standard. Perhaps a small criticism is Crispe’s lack of harsh militaristic arrogance, and thus he is somewhat of a one dimensional ‘all round nice guy’, who none-the-less sings beautifully. 

Packed with multiple themes and messages across 2 acts, and set against a backdrop of political tension, the story chronicles a journey of discovery and transformation, and ultimately, love, political resistance, and finally the escape to freedom. It has it all. 

Production values are generally impressive, and of note is Goodburn’s set, creatively painted by Brian Budgen.  I think an opportunity is missed in the final scene where a mountain view would have completely cinched it for me. Lighting and sound enhance the performance and perhaps the only weak link is inconsistent realisation of 1930’s costumes. The nuns, heaven be praised, look great (and perform with great humour.) The children and Maria also look terrific. Sadly, other leads, particularly men, seem to have suffered from the ‘wear what fits syndrome’ which whilst not spoiling vocal work, does not augment an authentic look. 

Mention should be made of Susie O’Connell’s work as The Mother Abbess. She sings like an angel and has impressive acting timing, seizing every stage moment with gusto. Named after the show’s creators, I saw the Rogers cast on opening night and was impressed with the disciplined and charming work of that group of Von Trapp children. Watch that space. 

So, ‘Climb Every Mountain’ to get there before The Sound of Music says, ‘So long, farewell’. It will undoubtedly become a show that you will describe as ‘One of My Favourite things’ in 2025. 

Jude Hines

Photo credit: Pro Shots.