The Sound of Music

It was my pleasure to attend Ferryhill Stage Society’s recent production of Rodgers and Hammerstein’s beloved classic, The Sound of Music. I was incredibly grateful to Ferryhill for being as always very warm, friendly, and accommodating as I had dashed from Leicester that afternoon to get to them and was unexpectedly held up on the M1 so was a little late getting there. The audience were already sat, and the company delivered a show that, while perhaps a little restrained in its energy, nonetheless showcased the enduring appeal of this much-loved musical.

Vicky Tweddle took on the daunting role of Maria made famous by Julie Andrews and brought a gentle sincerity to the part. Her performance was marked by a genuine warmth, some cheekiness, and her interactions with the children were especially heartfelt. Vicky’s vocals were clear and pleasant, and she navigated the emotional journey of Maria with poise and a smile that simply invited you to root for her.

The Von Trapp children, always a highlight in any production of this show, proved utterly charming. There were two teams of children, Raindrops and Roses, and I was privileged to see the Roses team. I am sure team Raindrops were just as enchanting! Their scenes together brimmed with youthful enthusiasm, and their individual personalities shone through in delightful moments—particularly during “Do-Re-Mi” and “So Long, Farewell.” Each young performer contributed to the sweet familial dynamic on stage, and the audience responded with well-deserved affection. Well done to Sadie Morley, Scarlett Revell, Chelsea Harker, Sienna Guy, Adrianna Irwin, Matilda Coates, and Violet Angel the team I saw when I attended. My apologies to Eleanor White, Ruby Hawman, Annabelle Dixon, Jessica Harland, Ella Linder, Claire Riches and Hallie Koya, the Raindrops team playing on the alternative evenings.

Director Ian Patterson, Assistant Director Kayomi Koya and Musical Director Faye Rodgerson did a sterling job in bring this performance to the stage, as both were also taking part themselves, which is exceedingly difficult to navigate. Ian as Captain Von Trapp gave a steady performance in some very dashing suits creating a solid Von Trapp.

Choreography, under the guidance of Abby Monaghan, was thoughtfully constructed. While some dance sequences occasionally lingered a little longer than necessary, the movement was accessible for the cast, allowing all to participate confidently. There were flashes of creativity and unity, especially in the group numbers where the company’s work in rehearsal was evident. I especially did enjoy the creativity around the escape of the Von Trapp family and the wedding procession was gorgeous.

Musically, the show moved at a steady pace, and the familiar and some unfamiliar melodies were given respectful treatment by the ensemble.

Mother Abess played by Elsie McGowan was a warm and motherly influence on Maria, and the nuns ensemble played by Amanda hunter, Jennifer Revell, Rachael Riches, Faye Rodgerson, Debbie Doidge, Dawn Milner, and Jeannie Blayney complimented them well.

I did particularly enjoy Danielle Beck’s performance as Elsa Schraeder and Daniel Riches as Max Detweiller. Both parts really suited them very well. Danielle looked absolutely beautiful and carried herself clearly and confidently as the beautiful, wealthy cosmopolitan woman who tries to win the captain’s heart, and Daniel played a charming, impresario and fickle friend of the Von Trapps. Really good performances from the pair of them.

Lovely performances were seen from Dominic Dobinson as Rolf, Ella Connolly as Franz, Kayomi Koya as Frau Schmidt, Ian Grigor as Herr Zeller, Steve Hill as Admiral Von Schreiber and David Stothard as Barron Elberfield.

The fixed multi-tier set, and wonderful costumes captured the timelessness of the story and transported the audience to the hills of Austria. Scene transitions were handled capably, and technical aspects ran smoothly, contributing to an assured and cohesive presentation though some scene changes did seem laboriously long.

While the energy occasionally felt a touch subdued, and unfortunately some significant sound issues and music cue delays did create some issues for the team and for the pace of the piece, the company’s efforts shone through in their commitment to telling this classic story. Audience members left humming those iconic tunes, and many children in the crowd were clearly inspired by seeing their peers on stage. Congratulations to the entire cast and crew, for their contributions to Ferryhill Stage Society’s production. With continued confidence and a little more sparkle, I am sure the company will go from strength to strength.

 

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