The Sound of Music

The Sound of Music needs no introduction whatsoever as it is probably known to most people. What may not be known is the significance of when Evesham Operatic and Dramatic Society put this, their latest production on. Originally ‘The Sound of Music’ received two short ‘try outs’ before the musical opened on Broadway on 16 November 1959 (sixty years to the day when this production finished).

The musical needs to have several sides to the story. Including family dynamics and different characterisations, the dark and sinister Nazi occupation, the moving final scene and of course the music which is so well known.

Central to the show is of course Gail Andrews as Maria Rainer who gave a good performance alongside Michael Bowen as Captain Von Trapp.

The children in this show (the Von Trapps) are always rightfully mentioned as they are paramount to it. All gave a good performance Effie Howdle (Gretl), Lauren Bridges (Brigitta), Woody Palmer (Kurt), Abigail Roberts (Louisa) and James Cook (Friedrich). However, the performance of Louisa Gould (Marta) who stood out. In addition, was of course Liesl played by Marie Emond who gave a notable performance both in scenes with the family and Maria as well as with Rolf played by Alistair Hutton.

The Lonely Goatherd was particularly well done, and I liked the additional touches within this scene.

Supporting roles were Phil Dobbins (Max Detweller), Gemma Bailey (Baroness Elsa Schrader) who gave good facial expressions as she became increasingly aware of Von Trapp’s feelings for Maria with Steve Roberts (Franz) and Sue Emond (Frau Schmidt). I always enjoy the musical numbers between Max and the Baroness mainly because they are relatively unknown.

Vocally the performance of the evening came from Alison Roberts in the iconic role of Mother Abbess with ‘Climb Ev’ry Mountain’. This song appears at the end of act one and many believe the highlight of the show musically. The audience most certainly appreciated it.

The nuns worked well together and there were some nice cameo roles for the three named ones – Rebecca Barclay (Sister Berthe), Tracey Wallbank (Sister Sophia) and Nuala Wooltorton (Sister Margaretta). The vocals from the large ensemble of nuns was pleasing especially as they need to sing acappella for some of these.

The set built by the members of the society was multifunctional requiring only minor adjustments to convert from the Abbey to Von Trapps house to the theatre scene. The bringing in of Nazi swastikas worked with effect. The lighting was well considered especially during the end of act one and the gobos depicting windows in the abbey were appropriate for the scene. 

The band of nine played well under the leadership of Oliver Lister and in most parts the vocals of the songs were able to be heard. ‘The Wedding Processional’ was especially powerful as it needs to be.

The costumes were primarily in keeping with the show including lederhosen for Rolf. Congratulations to Chantal Parrot for making the ‘play clothes’ wear by the children, these looked really effective. I do however always look out for footwear and there were occasions when this detail was missed which was a shame. In addition, some items were either in need of an iron or ill-fitting which was unfortunate.

Some lines were missed, however it was evident everyone had worked on ensuring the audience had an enjoyable evening reliving this one of the all-time classics of the musical world.

Next year Evesham Operatic will again take part in ‘Brassed Off’ (previously staged in 2017) in March, ‘Razzle Dazzle’ in May and ‘All Shook Up’ in November. I look forward to these productions in the lead up to their 140th anniversary.

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