The Sound of Music

Heckmondwike Players made a triumphant return to the traditional musical with their production of The Sound of Music, a choice that played to the strengths and current membership of the society. The production was a heartfelt performance, delivering both emotional depth and musical excellence.

The show opened in Nonnberg Abbey, where the nuns gave an accomplished performance of Preludium, setting an atmospheric and reverent tone. The harmonies were controlled and well balanced, immediately demonstrating the strong vocal capabilities of the cast.

We were then introduced to the protagonist, Maria Rainer, played by Lucy Wood, who finds herself at a crossroads—torn between a life in the abbey and her love of music. Lucy brought warmth to the character whilst not losing Maria’s strength and determination. This dilemma was effectively established through the lively and well-executed rendition of How Do You Solve a Problem Like Maria?, performed by the most senior nuns. Sister Berthe (Beckie Perkin), Sister Evangelista (Debbie Jennings), and Sister Margareta (Jane Ellaway) gave assured performances, each bringing unique characterisation and depth to their roles. Their chemistry was evident, adding both warmth and humour to the scene.

Mother Superior was played by Sheelagh Forsyth, a strong vocalist who commanded the stage at each appearance and even more so in the iconic song Climb Every Mountain.

Jai Jai Ekins as Captain Von Trapp was suitably stern but softened as he realised his love for Maria. As Elsa Schraeder, a rich socialite who sees the Captain as enhancing her profile, Christine Kenny brought an air of grace yet self-assuredness to the role that left the audience wanting her relationship to fail. James Creegan, as Max Detweiler, displayed tenderness and humour combined with frustration at the Captain's unwillingness to accept the situation unfolding around him. One particularly enjoyable moment was the musical number No Way to Stop It, featuring these three characters.

The show would be nothing without the Von Trapp children, who were the stars of this production. Liesl (Evie Mansfield Smith), Friedrich (Harry Moxon), Louisa (Billie Vernon), Kurt (Isaac Moxon), Brigitta (Amelia Heald), Marta (Paige Brearley), and Gretl (Poppy Godbold) were faultless, knowing where they should be and what they should be doing at all times. In the number Do-Re-Mi, it was impressive to see them all singing their individual parts in time and with confidence. Another young performer worthy of note is Sam Jones, who as Rolf delivered a wonderful duet with Liesl in Sixteen Going on Seventeen.

While it is not possible to mention all supporting cast members individually, all were clearly committed to their roles. Credit must go to the nuns for their tight and confident harmonies, sometimes performed a cappella. Well done to musical director Jonathan Wilby for this.

Director Jeremy Shoesmith clearly had a vision for how he wanted this production to unfold, and in the main, it was achieved successfully. Unfortunately, on the evening I attended, parts of the production were marred by technical issues with sound and lighting, which was a shame as it detracted from the performance. Another area to consider for future productions that are era-specific is attention to detail with costumes, as this enhances the overall aesthetic. In this case, some nuns wore flat shoes, some character shoes, and some had wimples tucked in while others did not.

Despite these minor issues, the production was a resounding success, capturing the magic and emotion of The Sound of Music beautifully.

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