The Sound Of Music

The hills were well and truly alive as I made the trip up the A66 to visit Keswick Amateur Operatic Society (KAOS) for the first time to see their presentation of the Rogers & Hammerstein classic,  The Sound Of Music – a show which holds a very special place in my heart.  Having sat through it around 250 times during my old ‘day job’, after a ten year hiatus I was really looking forward to being reunited with an old friend – courtesy of KAOS.

The age old question of ‘How Do You Solve A Problem Like Maria?’ has a rather simple answer – give the role to Amy Hall!! I got completely absorbed in her beautifully nuanced dialogue, and she sang the part rather well too! There were a couple of slipped lines from others during the Do-Re-Mi sequence and Amy brought the number back on track without even flinching. It was a masterclass in how to a be leading lady and she carried the show to perfection.   All in all, Amy gave a real tour de forceperformance that was perfectly suited to the professional stage she was appearing on. 

James Hutchinson was well suited to the role of Captain Von Trapp.  A handsome and aloof disciplinarian who, throughout the course of the show lowers his guard to become the caring and loving father his seven children have longed for.

There was a real spark between James and Amy which helped take the edge off the sugar coated story that most people would associate with The Sound of Music.  One of my favourite moments of the show was during the Landler when the spark fizzes for the first time as the pair dance together and it was totally compelling!   James also delivered a very moving rendition of the shows 11 o’clock number,  Edelweiss.

Alex Lenhinger and Colette Gaizley played the supporting roles of Max and Elsa, respectively.  I enjoyed their performances, though I was saddened by the omission of How Can Love Survive.  

It wouldn’t be The Sound Of Music without the Von Trapp Children themselves and I thought the children on the night I attended were brilliant. 

I must give a shout out to Jo Jones as Frau Schmidt.  Despite not wearing a mic, she worked SO hard to make sure the witty lines landed and I couldn’t help admire her delivery of an underrated part!

There’s no doubt that Climb Ev’ry Mountain is one of the greatest moments of any Rogers & Hammerstein score. Jenni Hutchinson did not disappoint as the Mother Abbess.  With vocals soaring higher than the Matterhorn, she closed both acts to well-deserved rapturous applause. 

There was some lovely touches throughout provided by director Chris Briggs. It was a clever idea to include archive newsreel footage.  It reminded us of the political undercurrent that was ever present - there is more to The Sound Of Music than just a few nuns and some clothes made from curtains, after all!..

I thought the show zipped along at a terrific pace but I’m afraid I found the restructuring of the concert scene to be a huge misfire.  I don’t mean a disservice to the other performers but if I can be blunt, we know the Von Trapp’s win – there’s no need to drag it out longer than the authors intended by adding unnecessary and distracting comedy into the gut wrenching final ten minutes of the show.

As Musical Director, Colin Brind took the baton and led the 13-piece orchestra, hidden out of view at the back of the stage.  Being remote, puts you at the mercy of the sound operator to what actually makes it out across the PA.   I’m pleased to report that the sound created was absolutely breathtaking and I’d go so far as to say it was probably the best played amateur shows I’ve ever heard. Congratulations Colin for leading a magnificent orchestra and some lovely vocal performances by the actors.

I knew from the moment I entered the theatre, that this was going to be a very different version of the production, forgoing any lavish scenery and opting to stage the production on a very simplistic and stylised set of white steps accompanied by video back projection.  I found this quite bold move to be very refreshing and made us audience members really hone in on the actors and the story they were portraying. 

Lighting was well suited to the stylised set design and the costumes were nicely produced, though it was apparent that some of the nuns were in a heeled character shoe, perhaps Nonnberg abbey was slightly more progressive than I first realised!.

On balance, this was an absolute knockout production of a classic musical and my critiques mentioned are commensurate to the high calibre of the production that was on display.  Thank you so much for the invitation, the hospitality and reigniting my love for The Sound Of Music.

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