The Sound of Music

This must be one of the few musicals ever written where most of the audience know almost every note and word of the songs, but it always proves to be a winner with musical groups and audiences alike.   At more than two and a half hours, it could feel long, but it moves along smoothly on its music, with engaging songs (Do Re Mi) alternating with inspirational ones (Climb Every Mountain): and who can hold out against the emotiveness of Edelweiss? This was VAMPS’ choice for their spring production and the full houses proved how popular this show remains.  

The Company's vision to convert the Priory Centre hall into an Abbey with beautiful stained glass window panels lit high up around the hall was impressive as was Natalie Różańska’s set design of the towering Austrian hills used as a backdrop to all the scenes which was absolutely splendid.  Hats off to the cast members who formed the set painting team. Your efforts were well worth it. The settings worked well and Stage Manager Huw Nadin and his stage crew made efficient changes.  The lighting design by Matt Oram was very good particularly the opening in the Abbey although there was a dark patch stage left a couple of time which left Maria poorly lit.  Sound (Dan Cooper) was first rate and kept at a very well balanced volume. The costumes (Lucy Napthine) were very good and I liked the boys’ floral dungarees, although I don’t expect they did. 

Director Emma Driscoll had gathered together an excellent cast where even the smallest role was well considered and executed.  With a cast of around 30, the stage was used well and the big church numbers were impressive.  Full marks to the nuns chorus and to Musical Director Emily Wainwright-Meekins and Choreographer Lucy Ali. 

This is a mammoth performance for Maria but Jenny Bane was certainly up to the task. She was a wonderful Maria. Imbuing her character with energy and enthusiasm and her glorious voice did full justice to her songs. An effervescent, talented and thoroughly enjoyable performance. 

Tom Kirkbride as the proud but almost emotionless Von Trapp remained somewhat unbending maintaining the martinet approach which meant we didn't really accept that he is really a lonely man and therefore susceptible to Maria's charm and zest for life. The tender moment in the ballroom however was well done and his principled nationalism under pressure from the Nazis was well portrayed.

The ‘aah’ factor is, as always, the children.who are important in this story. As is often the case, they were double cast and I saw Team Andrews and what a talented team they were led by the confident Naomi Mallabone as a charming Liesl, she has a lovely voice and interacted well with both her boyfriend Rolf and the children. I was impressed with the performance of all the children particularly George Ducker (Friedrich) and Anna Rabbett (Brigitta) who gave strong and confident performances, but I also enjoyed the performances of Amy Outhwaite and Natalia Noakes (Louisa and Marta), Frank Ducker (Kurt), and of course Charlotta Grebe as cute little Gretel.  They were a pleasure to watch and listen to and made a good ensemble team performing with natural energy and confidence.

Kacey Munns (she/her) did well as Rolf.  This is a difficult role as it doesn’t give the actor much opportunity to shine but what she was called upon to do she did well. There was a very nice rendering of ‘Sixteen Going on Seventeen’ from Leisl and Rolf.

Keith Jenkinson provided a smattering of humour as the resourceful Max Detweiler and he combined effectively with Molly Gregorious as Elsa Schraeder. Molly has an excellent voice but the two strange songs the show lands both Elsa and Max with always seem, in my personal opinion, out of place: nevertheless I thought they were very well indeed.

The singing of the ladies chorus as The Nuns was beautiful in its excellence with well executed harmonies. In first rate performances they were fronted by Kathie Pugh (Sister Berthe), Abbie Lathwell (Sister Margaretta) and Leah Blyth (Sister Sophia) with Irene Crawford imposing as Mother Abbess playing the role with gentle authority.  A great voice too which brought the first act to a stirring and emotive close with Climb Every Mountain. 

The smaller roles were covered nicely: James Nichol and Wiz Ducker as Franz and Frau Schmidt I thought did a good job. Great supporting work too from Max Caldicott and Alfie Fox as Herr Zeller and Admiral von Schreiber respectively. and those doubling as Nuns, party guests and Soldiers.

Congratulations Director Emma Driscoll and all involved. Much hard work and commitment is demanded of both cast and crew to put on a first rate production such as this. Your full houses and many plaudits were well deserved.

 

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