The Sound of Music

Kings Lynn was alive with “The Sound of Music” for KLP's 80th anniversary show, coinciding with the refurbishment of St George’s Theatre. In a bold move, KLP transitioned to the Corn Exchange, taking advantage of increased budgets, larger sets, and an expanded cast. Having played Captain Von Trapp back in 2016, with my wife as Frau Schraeder and my children as Kurt and Brigitta, I was filled with fond memories and high expectations.

Upon entering the auditorium, the impressive church backdrop accented with two large candelabra flanking an alter set the tone for the evening. The set was simple and effective, transitioning seamlessly from the abbey to the Austrian hills, and finally to the Von Trapp family mansion. The mansion was striking, utilising the full breadth of the stage with space for a staircase, panelled walls, a balcony exit and dressed with period furniture.

Scene changes were executed effectively, with well-utilised lighting ensuring smooth transitions. One minor critique, however, was the visibility of set pieces in the wings – a typical pinch point for KLP in its usual smaller venue. In this space, I had hoped this would be mitigated, but the protruding church gates were a slight distraction—surely there was enough space to strike these fully.

The performance began with an impressive a cappella rendition by a huge ensemble of nuns and a few male clergy. The quality of the sound, the harmonies and the atmosphere created were remarkable. This was the case throughout the show whenever all the nuns sang. Well done to Samantha Ashby (Musical Director) for getting the harmonies drilled and creating such an atmospheric sound– the advantage of such a huge and talented cast.

From the outset, the investment in costumes was evident; the team did a fantastic job dressing such a large cast. A few details were slightly distracting: bright red lipstick or a full face of makeup on some nuns, nuns in patent leather shoes and black trainers and a RAF uniform dressed up as a German one in the final scenes. I recognised the children's costumes, having photos of my kids wearing the exact same orange curtain outfits. Despite some minor quibbles, the overall effect captured the essence of the era and immersed the audience in the Austrian world of the Von Trapp family.

Emerging from the ensemble of nuns was Mother Abbess, portrayed by Amanda Mason, whose performance was sensational. Her rendition of "Climb Ev'ry Mountain" to close Act 1 was a highlight, with her controlled vibrato resonating throughout the auditorium and earning her well-deserved applause. Well done!

The young actors playing the Von Trapp children—Poppy Guyatt, Freddie Hawkins, Chantelle Verdad, Max Hawkins, Keanna Kandjou, Alice Clark and Thea-Ann Miles—were a delight. Their dedication shone through and they created a good family unit, despite the demanding nature of their roles which included numerous quick costume changes and many solo lines. Keanna's endearing portrayal of Brigitta and Thea-Ann's adorable performance as Gretel were particularly noteworthy. Great to see all this young talent coming through.

Poppy Guyatt's convincing portrayal of Leisl and her palpable chemistry with Logan Petterson-Cooper's Rolf brought a charming dynamic to their duet "Sixteen Going on Seventeen." Logan's mature and nuanced performance added depth to his character, making their scenes together a highlight.

Tim Webb portrayed his role well with lots of energy adding comedy to the role and bringing out the exuberance of the promotor Max Detweiller, yet his youthfulness slightly undermined the credibility of his character as a trusted confidant and 'Uncle Max' to the Von Trapp children. Opposite him, Ellen Petterson-Brister as Frau Schraeder adeptly embodied a woman more enamoured with her societal standing than the brewing turmoil outside Austria's borders.

Matt Austin's interpretation of Captain Von Trapp was initially strong in capturing the widowed character's military rigidity and discipline. However, his evolution into the more affectionate person Maria falls for lacked a degree of authenticity. The pivotal song "Edelweiss," meant to convey the Captain's deep-seated Austrian patriotism to the point where the children and Maria have to step in to help him finish the song, needed more passion to fully resonate.

The true star of the evening was Maddi Dawson as Maria Rainer. Dawson delivered a performance that was nothing short of mesmerizing, her vocal prowess rivalling that of Julie Andrews herself. She expertly navigated Maria’s journey from a naïve postulant fresh out of the convent to a confident, loving figure who stands up to Captain Von Trapp’s rigid parenting. Her transformation was both believable and captivating, culminating in a deeply felt connection with the audience. The crescendo of applause that echoed through the theatre at the final curtain was well deserved.

Despite signs of fatigue on this final night, which I felt led to a slight dip in pace and energy, the production featured numerous standout moments. Congratulations to Sharon Fox (Director) for this remarkable 80th Anniversary show. There were so many amazing aspects to the show where the dedication and countless hours of the director and those around her shown through. The enthusiastic standing ovation was a testament to the cast and crew's hard work and dedication. Here’s to the next 80 years of theatrical excellence!

 

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