The Sound of Music

This wonderful musical is loosely based on the story of the Von Trapp family and of Maria who, whilst still a nun, became governess to seven children and in the fullness of time their step mother.   This, the final collaboration of Rodgers and Hammerstein, which many consider their finest of them all, has become a landmark among post-war musicals for the sheer number of memorable songs, the emotional depth of its theme story itself and for its anti-Nazi stoicism and bravery.

With an impressive production team of John Harries-Rees as director, Brian D Steel as musical director and Kelly Neilson as choreographer I was certain the evening was going to be special.   And so it proved.

The ample sized Playhouse stage was used to its fullest with most realistic looking sets which Sarah Wood as stage manager and her nimble crew changed in unobtrusive and speedy style.   Excellent use of lighting by Richard Pike made a huge contribution to the whole effect.   Stuart Vaughan (for StuSsound) also did sterling work on sound.

From the first moment, this hauntingly powerful show gripped the senses and the prodigious director John Harries-Rees proved for the umpteenth time that he is the master of theatrical tension, with his clever use of lighting, his characterisation and all the various other theatrical devices used by this master among directors.    The final tableau scene where the Von Trapp family escaped across the mountains into Switzerland was simply awesome and unforgettable!

A stellar cast with fully sixteen nuns, all suitably dressed and the wonderful abbey set was top class.   Each principal player both separately, but especially all together, achieved a performance so magical that will surely remain a proud memory all their lives still to come.

A vibrant, lithe and extremely melodious Maria was given by the all round stage talent of Ruth Fogg, giving a wondrous performance throughout.  Playing opposite her as Captain Von Trapp. all stern military discipline hiding a noble and brave heart, was the impressive Chris Gibbs.  He had a pleasant singing voice, though somewhat short of top class.   His dialogue and acting was, however, a masterclass and he really owned the part.   Kay Rose was a worldly wise yet emotionally vulnerable Baroness and she gave a huge class to Elsa.    A top rate performance.   Zac Negri, playing a much older part as the scheming Max easily charmed all on and off stage with his huge stage personality and his understanding of the role.

For my money though, the single most thrilling singing voice was that of Yvonne Bracken-Kemish as the amazing Mother Abbess.   It is rare to hear a voice of this quality in amateur theatre, not that much could, in truth, be thought “amateur" about this entire production.

The actual youthful ages of Liesl and Rolf looked exactly right on stage ie sixteen and seventeen, though in vocal and acting ability both could well have been middle aged, were they not both so slim and obviously youthful.   Maia Phillips and Samuel Quick respectively, I salute you both!!

The other six Von Trapp children were a total delight, each giving a performance they had no right to attain at such tender ages.   Such individual charm, vulnerability and eagerness to be loved was  emotionally heartening.   The raindrops team comprised Ilana Alford as Louisa, Hannah Williams as Brigitta, Emily Earwicker as Marta, Isobel Anderson as Gretl and the two boys played each performance – Sol French was Friedrich and Daniel Lumley played Kurt.

The redoubtable Brian Steel – a maestro indeed - conducted his excellent eight-person band with aplomb and verve.  Sandra Mortimer and Linda Stanley-Smith did a fine job on costume co-ordination.   Choreographer Kelly Neilson with her huge dance expertise gave a lustre and sure-footedness to all the routines she set.

To conclude, this was a first rate show with a superb production team and a talented and dedicated cast.    It was among the more enjoyable musicals I have had the pleasure to review this year.

 

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