The Sound of Music

It’s always a pleasure to be invited to a classic show such as “The Sound of Music”, a wonderful retelling of a true and uplifting story set in World War II. Staging such a production was no mean feat: whilst the expansive nature of the Swiss Alps was not a visual feature, the set was substantial, displaying the interior of a grand house with a central staircase and landing, providing multiple entrance and exit points. Scene changes were swift and lighting and sound effects were clearly in safe hands.

The band, positioned at the back of the stage, was accomplished and vocally, the songs were clearly well-rehearsed and delivered by the whole cast with confidence. The nuns added the required gravitas, as did the dour Captain, to contrast with the exuberance of the wayward postulant.

Nicola Wood, as Maria Rainer, should be congratulated on her vitality and excellent vocals; her rendition of “The Lonely Goatherd” was a definite highlight and the reprise of “Sixteen Going on Seventeen” by Maria and Liesl (played by Florence Peckett) was a particularly poignant moment as both women displayed a congruency between voice, gesture and emotion. However, it was Team Schnitzel who stole the show for me – their charming and authentic portrayal of the Von Trapp children through their movement, songs and striking costumes was delightful. I am sure that the children of Team Strudel were equally accomplished.

Many congratulations to CODS for this lovely afternoon of nostalgia. In all areas of the production, including the professional publicity material and programme and the the front of house hospitality, it is clear that “The Sound of Music was a magnificent and successful team effort

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