The Sound of Music

Southern Light did more than ‘something good’, they excelled in their 125th anniversary production of’ ‘The Sound of Music.’

With an open stage, the scene was set with a few nuns silently going about their daily business in the abbey creating an ambience which was effective in silencing the audience and getting their attention. The chiming abbey bell broke the silence and the powerful opening ‘Dixit Dominus’ sung by the Mother Abbess and the nuns rang out. There isn’t a huge amount of chorus work in ‘The Sound of Music’ but these nuns made a glorious sound with strong harmonious choral singing.

This well loved Rodgers and Hammerstein musical is so well known that an audience may have expectations of the characters and familiar musical numbers. They were not to be disappointed.

Maria, the young postulant who has difficulty conforming with the expectations of the abbey and who is sent to look after the children of the widowed Captain Von Trap is a most challenging part and was superbly played by Cathy Geddie. She gave a wonderful all round performance both vocally and in confidently expressing the complex range of emotions from the tomboyish, effervescent, forthright, fun loving Maria to the insecure Maria facing conflict in recognising her true feelings for the Captain. There was a lovely, natural rapport between Maria and the children (The DO-RE-MI cast on the night I attended), all of whom were quite charming and won the hearts of the audience with their lively,enthusiastic singing and innocence. They were so well drilled and confident in their actions especially ‘Do a Deer’ and ‘The Lonely Goatherd’ led by a dynamic Maria.

John Bruce portrayed Captain Von Trap with real assurance. With an excellent stage presence, he successfully contrasted the bombastic, controlling disciplinarian who ran his household as he would a naval command with a genuine softness when fighting against his feelings for Maria before accepting that she was exactly what he and his children needed. His love and loyalty to his Fatherland was evident throughout particularly when singing ‘Edelweiss’ where he was visibly emotionally moved almost to tears as I was ! Maria and Captain Von Trap had a real chemistry between them and were a most believable couple both giving engaging performances.

Elspeth Whyte was well suited to the part of Baroness Schraeder, elegant and dignified in trying to like the children and win the love of the Captain and brittle in her obvious dislike of her love rival Maria.

Zorbey Turkalp was a most fun loving, ebullient, self fulfilling Max Detweiler successfully persuading the family Von Trap to take part in the Salzburg Festival from where they eventually made their exit to safety. His powerful singing voice resounded through the theatre.

Another outstanding performance was that of Debora Ruiz-Kordova as Mother Abbess. She expressed a natural warmth in the role with a real empathy and understanding of Maria. ‘Climb Every Mountain’ which was quite stunning brought the conclusion of the first act to a real climax. What a wonderful voice.

Young Liesel Von Trap was played with a real charm and innocence by Jessica Lyall. She convinced us of her naive love for Rolf the telegram boy, Ruben Binney. Both sang and danced well in their number ‘Sixteen Going on Seventeen’ making a delightful couple.

All of the supporting roles were very well cast and each delivered solid characterisations. Choreography was well thought out and executed with precision whether in boisterous numbers or in the elegant party scene.

This was a most creative production which made very clever use of a stage extension which allowed for continuity and a natural flow in the transition from one scene to the next. The audience was focused and engaged on the action on the apron built round the orchestra distracting from the subtle scene changes going on behind. No need for blackouts . The use of the theatre boxes in the opening scene and at the concert, the swastikas hanging from the boxes and the flashing lights searching for the Von Trap family created real atmosphere and were used to maximum effect. A striking set and effective lighting all enhanced this production. Costumes were well co-ordinated and quick costume changes handled admirably.

The first class 24 piece orchestra was extremely well directed with the balance between the stage and the pit very well controlled so that singers were never overpowered . The play out was a joy to listen to.

This was a most professional, polished production on all accounts. The final backdrop with the family on the mountain and the nuns led by Mother Abbess reprising ‘Climb Every Mountain’ was extremely poignant and very moving. An excellent end to a fabulous production. And to think that it was all put together in a matter of weeks. A testimony to the hard work of the production team and cast.

Congratulations S.L.O.

 

 

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