The Sound of Music

Warmly greeted as ever by Richard and Sally as front of house, I took my seat in expectation. What a treat I had in store. The stage (starting with the Abbey) was semi-lit and hidden behind a gauze. It gave a great effect for the audience to view whilst waiting. The lights dimmed and the superb twenty-two piece orchestra started the overture, and the chorus of nuns with the preludium made a fantastic gothic sound full of harmony. I must pay tribute here to their MD Martin Bennetts whose efforts vocally with the chorus and principles and the orchestra was a feast to be heard. The diction was of a very high standard, both chorus and principles, this meant that all the words were heard and we lost none of the story.

The set, large and complicated, with many changes was perfectly lit with simple white lighting giving the cloths and flats the chance to shine through. The set changes were largely cloths/drapes pulled left to right, with the main scenery changes going on behind whilst the action was going on in front. Amazingly no real noise or cloth moves whilst this was underway, a team of twelve backstage made sure this, as well as black outs, was kept to a minimum. Well done crew.

The costumes were aplenty with a lot of quick changes required not only by the principles but by the children and chorus too. The standard here from the wardrobe department of Mandy Harrison and her team was of epic proportion! Superb.

Choreography was simple, well drilled and very effective, Abbie Jennings must be given real credit here. The children were split int two groups, so double the work! All in step, all in time - a joy to watch

All the principles were of a very high standard, Emma Harris as Maria, Wayne Ings as the captain were very ably backed up by Hayley Joy as the Mother Abbess, Rihanna Killick as Liesl and Connor Handstock as Max Detweiler. However all of the cast are to be commended here.

Lastly a mention for the children, from the youngest at six (and what an awwwweeee we got) to the oldest (fourteen I believe) brilliant. No missed lines, confident delivery of lines and vocals. A joy.

This was overall a production of very high quality, top to bottom. The audience loved it, the cast, chorus and principles were having a great time (which really came across into the auditorium) and I thoroughly enjoyed it. I have reviewed several Spot On productions each time the bar keeps on getting higher. It certainly was the case here. Bravo Alick, bring on Kinky Boots!

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