The Sound of Music

Every time I have the opportunity to see this timeless musical again, I wonder if I’ve seen it enough times already. But as soon as Richard Rodgers’ wonderful music begins to play, I know that I haven’t seen it nearly enough times yet! Set in 1938, as Europe was on the brink of war, the show is based on the memoirs of Maria von Trapp, who was taken on as a governess for a large family while she decides whether to become a nun. It was first performed in the US in 1959 and in London in 1961 and has won many awards, and been revived countless times, but somehow still remains as fresh as the hills Maria loved so much.

Director John-Paul McCrohon has brought together a very talented cast for this production by SDMS. Key to the success of the show, of course, is Maria, and we were in very safe hands with Elena Reynolds. What a beautiful singing voice! Elena soared through the many familiar songs with consummate ease, possessing just the right degree of innocence and interacting perfectly with the children – so vital in making the story convincing. Opposite her, Paul Tully gave us a very stern and formal Von Trapp, only allowing his cold façade to melt when he and Mairia realised they were in love. Another fine voice and it’s a shame the Captain isn’t given more opportunities to sing in the show.

Alan Jenkins was spot on with his jolly and avuncular portrayal of Max Detweiler, while Caroline Westmorland showed the softer side of Elsa Schraeder, a character that is often portrayed as rather distant and brittle. Who better than Jane Pegler to play the gentle and kind Mother Abbess? Climb Every Mountain, although presented a little differently from usual, was a sheer delight to listen to. Meghan O’Hanlon and Sam Townsend were well matched as Liesl and Rolf – both are strong singers and were completely convincing as teenagers about to embark on their first love.

The children, of course, make the show. They all had amazing confidence, which shone out in their singing, dancing and acting, making them more than a match for any of the adults on stage. They quickly had the audience twisted round their little fingers and got the biggest (and so well deserved) applause at the end!

Choral and solo singing throughout was excellent and the orchestra, under Alan Pring’s confident command, produced a great sound but never overwhelmed the singers. Caroline Westmorland’s inventive choreography used every inch of the stage and was well executed. The efficient stage crew ensured we moved swiftly from scene to scene and the lighting was most effective at setting the scenes – whether colourful or subtle. Costumes throughout were appropriate and bright, especially during the wedding scene. The quality of the sound system (operated by Ferneham Hall) was excellent, but this was marred a little by more missed mic cues than I would expect on a second night.

As always, The Sound of Music is a joy to watch and I’m sure I wasn’t alone going home humming a few of my favourite songs. Well done SDMS for producing another fine, professional show.

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