The Sound of Music

To some "The Sound of Music" is overly sentimental, but it always proves to be a winner among musical groups.   At more than 21/2 hours, it could feel long, but it moves along smoothly on its music, with engaging songs (Do Re Mi) alternating with inspirational ones (Climb Every Mountain): and who can hold out against the emotiveness of Edelweiss?

This was BSEAODS’ choice for their spring production and the full houses proved how popular this show remains. Based on a true story of the Von Trapp family I am sure there cannot be many people who are unaware of the story of Maria the feisty young novice nun, who has been sent by the Mother Abbess on a temporary transfer to look after the seven Von Trapp children and ends up married to their widowed father. 

The staging of this huge musical needs spectacle and the opening with the stained glass windows of the Abbey was atmospheric moving to the grandeur of the Von Trapp mansion with its double staircase and then to the mountains.  All were impressive.  If BSEAODS could bottle the swift skill of their stage crew they would make a fortune.  I am always impressed with the speed and fluidity of their backstage team.  Lighting and sound were good although on the second night I think there was a problem with the follow spot during the scene with Liesl and Rolf.  Costumes were super particularly the beautiful evening dresses.

Everyone in the thirty-six strong cast did their bit. Katy Cocks produced an electrifying performance as Maria. I’ve rarely heard singing so good in an amateur show. It was superb and worthy of a West End performance.  Equally Katie Woodhouse showed she also has a great voice in How Can Love Survive.  She played the elegant Baroness Elsa with genuine warmth towards Captain Von Trapp with none of the overlay of wicked stepmother but with the right condescending ‘don’t touch me’ approach towards the children.  Mary Heath played the Mother Abbess with genuine warmth, her powerful rendition of Climb Every Mountain brought the first act to a stirring and emotive close.  The three principal Nuns Holly Hayhurst (Sister Margaretta) Hazel Pearce (Sister Berthe) and Kat Metcalfe (Sister Sophia) gave the Abbess good support and all three have excellent voices.

Special mention must be made of the Von Trapp children: I had the pleasure of seeing Team Green led by Rachel McMillan as Liesl with Ben Adamson (Friedrich), Imogen Foreman (Louisa), Tabitha Lacey (Kurt), Olivia Withers (Brigitta), Eleni South (Marta) and (always last!) Isabella Sica (Gretl).  They were without exception excellent.  All had good singing voices and all produced good, believable and exceptionally confident performances. As is often the case, the Von Trapp children were double cast but doubtless Team Blue will have been just as good in their performances.

Nicholas Metcalfe played the unbending Captain Von Trapp well but I would like to have seen just a little more empathy with Maria, it did come out more towards the end but this musical doesn’t give the Captain and Maria much time to build on romance so the attraction needs to be shown as early on as possible.  The role of Max, here played by Ben Musgrove injects some humour into the proceedings and I enjoyed the obvious camaraderie between Max and the Captain and also Max and the Baroness.

Tom Menarry gave a first-rate performance as Rolf.  This is a difficult role as it doesn’t give the actor much opportunity to shine but what he was called upon to do he did well with the added bonus of an excellent voice.  The duet with Rachel McMillan as Liesl was very well done and the choreography involved well executed.

There was good strong support too from Tracy Dougherty (Frau Schmidt), Colin Musgrove (Franz), Ben Hill (Herr Zeller) and Neil Hickey (Admiral Von Schreiber).  These were ably supported by Robert Utting and Debbie Croll as Baron & Baroness Elberfeld.

The show was “topped and tailed” with beautiful singing by the Nuns: musically the piece was of a very high quality.  

As far as choreography goes the show doesn’t call for big production numbers but Choreographer Christine Glancy produced some nice synchronised movements in the Abbey and in the Von Trapp household Maria and the children executed some lively numbers. 

Musical Director Simon Pearce dealt with this lovely score in his usual skilful way.  Not once did the orchestra over shadow the singers.  They are all obviously accomplished musicians and I wish I had enough room to name them all but you know who you are!

My sincere compliments to Director Alec Taylor. I much enjoyed the show and appreciate the hard work and commitment it demands of both cast and production team to create a show of this quality.

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