"The Sound Of Music"

“The Sound Of Music” is the last musical by Rodgers and Hammerstein 11: arguably their greatest. Since it first opened in 1959 it has been admired by millions the world over both as a stage musical and as a film. I remember feeling giddy as the camera panned out over the Austrian mountains in glorious cinemascope at the Gaumont cinema, Birmingham, in 1965. Since which time I have had the pleasure of seeing live performances all over the country as I am sure most people in the packed house on Saturday have as well. Never failing to move and impress it is one of the most enduringly popular shows of the 20th century.

 I can honestly say that I have never seen a performance that gave me so much pleasure as that which I had the good fortune to watch at Burnley Mechanics. Pleasure not just in the presentation but pleasure too from the power of a great piece of theatre being directed with impeccable integrity. It is often said, tongue in cheek, that the only art form America has given the world is The Musical. This show was the epitome of art.

Faultless in every aspect of its staging the standing ovation by the entire audience at its conclusion was richly deserved. There are a number of differences between the film and the stage version. The latter is subtly but noticeably grittier. Nor is the piece based entirely on fact.  For example, Maria and von Trapp had been married for eleven years before they left Austria in 1938 and there were 10 children in the family. Nor did they escape over the mountains to Switzerland, they took a train!!! Their story is, in the hands of Rodgers and Hammerstein 11, a tribute to upholding the standards one was brought up to cherish at any cost, safe in the knowledge that there is something that endures beyond this world far greater than any human frailty or passing political monstrosity... so as long as you respect its presence. 

As the curtains opened and the nuns sang the “Preludium” I knew we were in for a rare treat. The hairs on the back of my neck tingled with an intensity I had not experienced since first hearing the Beatles “She Loves You”. Then as the famous title song rang out The Mechanics became truly filled with the sound of music. The quality of the chorus numbers was “beyond good”. All the nuns were outstanding. Sarah Farragher, Sue Avanson and Liz Wood showing us individual living breathing characters, (with whom you could engage) played with considerable charm.

Joanne Gill’s performance as the Mother Abbess was wonderful in its range, showing us a rounded personality who despite being cosseted in a convent understood implicitly the foibles of human nature and how best to react to them. A human being no less! “Climb Every Mountain” was delivered with great passion. 

Andrew Tuton as von Trapp was superb. He made sense of the almost overnight change in his character’s attitude from militaristic dictator to loving father, accomplished in little more than a scene in the play, with complete sincerity. “Edelweiss”, (Oscar Hammerstein 11’s last ever lyric) was touching. With his children and Maria grouped around him the majesty of this erstwhile simple song was neatly evoked. I have greatly enjoyed Tony Lewis's roles throughout District 3 this year. He was perfectly cast as Franz, the Butler. His matter of fact Nazi salute probably said more about the perverse ability of the success of the Nazi propaganda machine than even an entire performance of “Cabaret” often achieves! Barabara Cilgram gave us a lively efficient Frau Schmidt. Barbara has immense confidence on stage giving her character the bustling deportment essential to making us empathetic toward her.  Luke Woodcock as Rolf offered us a young man swept up by the extraordinary events swirling around him and sweeping him up in its wake. That the delightful, considerate, charming Rolf of “Sixteen Going On Seventeen” should change to the robotic thug that he becomes is horrific. His real moment of destiny when Rolf meets Maria in the garden during the families escape was Luke’s finest moment. Not a word is spoken yet the communication of the power of love to conquer evil was displayed with touching sincerity.

The seven children, Carla Rutherford, Joel Atkin, Freya Allison, Charlie Barnes, Ruby Yates, Bronte Harrington and Willow Bulcock rose to the marvellous direction; their singing and dancing a real joy to behold. And they all were obviously having a really good time creating their roles. That is so important for the audience to observe. I was impressed by how well they all moved to their next positions on stage with total assurance. The supporting players were without exception, first class. Uncle Max in the hands of David Slater became the very model of urbane self-interest. “How Can Love Survive?”, omitted from the film, contains incisive lyrics that sum up the dilemmas facing all the characters without drawing any conclusions. Sung by Max, Elsa and von Trapp the clarity of diction in its performance ensured we “got the message”. Elsa, the other woman, was ably created by Judith Riley. It is a hard role to play as it is deliberately written not to engage the sympathies of the audience. Judith rose to the challenge with distinction. 

The lighting plot was remarkable. The full capabilities of the Mechanics were employed to full effect. Mark Simpson and Anthony Williams certainly know the right buttons to press. Musical direction by Simon Murray was first class. I could close my eyes and imagine I was listening to the Halle such was the standard of the band. Never overpowering, although there were plenty of them, they showed how musical accompaniment should be done. The video wall was also remarkable. Congratulations to everyone involved in its concept and execution.  And what of the costumes? Well, they were fabulous. Pauline Woodhead and her team had worked wonders in their department. The audience gasped when the Nazi banners dropped down. How often have we seen these vile monstrosities on TV? And how well we know what evil they represent. To see them in such proximity in the theatre was truly stirring. I wanted to get up out of my seat and tear them down there and then. It was an alarming yet magnificent coup de theatre.

I note from David Gill’s welcome in the programme that this was Anthony William’s 35th consecutive production. Burnley Operatics are indeed truly fortunate to have a talented director of such rare ability. “The Sound Of Music”, Burnley Light Operatic’s 100th show no less, was in itself a worthy tribute to Anthony’s dedication to this highly accomplished Society.  Chairman, David Gill also takes time to praise the children in the show. I quote, “their attitude and behaviour should be an example to all young people today and they are all credit to their parents and families”. Words to instil hope in everyone hearts for the future. 

And so to Maria. It is no disrespect to the all the others involved in putting all the pieces of this jigsaw together that I introduce my remarks on this role by saying, “I have saved the best till last”. Jenny Gill rose above the normal mundane playing of Maria, (singing songs, dancing the dance etc.) Rather Jenny showed us a young girl, torn by emotions of duty and trust tempered by scant experience and greatly in need of a guiding hand, gently turn into a confident woman fully able to influence her destiny and herself guide others. In short, Jenny created a living breathing character all within the confining space of just over 2 hours. A tribute too of course to the genius of the writers. This was a performance of tremendous power. I offer you my sincerest and most heartfelt admiration, Jenny.  Anthony and Jenny in the same society, how selfish!!! ( joke). 

I hope to welcome many cast members of this production to the NODA District 3’s awards evening on February 8th.

PRM.

 

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