The Sound of Music

The Sound of Music stage musical opened on Broadway in November 1959 and ran for 1443 performances, earning five Tony Awards including Best Musical. It was launched in London’s West End in May 1961 and ran for 2386 performances! It was Rodgers & Hammerstein’s last collaboration.

As this year marks the show’s 65th anniversary, it has been a favourite choice to perform – but nowhere more original and suitable than this production by B.O.C. – in Belfast’s beautiful St. Anne’s Cathedral. Preparing by traveling to Salzburg to drink in the spirit of the show, a group of members visited all the iconic locations featured in the film version of The Sound of Music!

No Set, as such, was needed in the magnificent cathedral. A good-sized stage was constructed in front of the Chancel, which was well finished to look like marble. Four large sections of black and gold gated railing were able to cut off the Altar/Choir stalls completely or move individually to be used as part of a scene. Some wallpapered sections with window/curtains were wheeled on for Maria’s bedroom and superior wooden tables and benches became furniture. The benches were finished on 2 sides in faux stone and tables were draped with different cloths to become Mother Superior’s office, garden furniture and even Maria’s bed when covered in bed linen and pillows! The stage crew, managed by Andy McKnight, worked quickly and quietly to create different scenes, while lighting pinpointed action on other specific parts of the stage. Background lighting was excellent – especially the upper portion of wall above the Chancel (Clerestory), where the stained-glass windows were highlighted and area specials well used. Sound was well miked – I heard every word from the third row (it helps when you know every line of script!) but I understood that speakers afforded the same clarity even to back rows!

Costumes by Thespis Costumiers were spot on – all with a 1930s Austrian feel and suitable for individual characters (I wonder how the children’s play clothes matched up so well with the bedroom curtains?) Maria’s wedding veil was magnificent – a pity we got no more than a glimpse of it!

Two young women shared the role of Maria on alternate nights – Anna-Maria Doyle and Hannah Russell. Anna-Maria was the leading lady for the performance I attended. Although showing the headstrong nature as a young postulant, she quickly settled into a lovely kind relationship with the Von Trapp children and her on-stage rapport was excellent. With vocals always beyond reproach, Anna-Maria was an inspirational Maria. Shirley Adair took the role of Mother Superior with dignified gravitas ,but it was good to see her relaxed manner when joining with Maria to sing “Raindrops on Roses”. Her rendition of “Climb Every Mountain” soared to wonderful heights with deserved ovation from the audience. Her three senior nuns – Sisters Berthe, Margaretta and Sophia (Sinead Coll, Emily McGleenon & Clare O’Hagan) - were all true to character. Berthe was strict and strait-laced; Margaretta was understanding and encouraging; Sophia was quiet and a stickler for the rules.

Captain Georg Von Trapp – a retired Austrian Naval Officer and a widower – was played by Samuel Moore with military precision to begin with. His gradual softening  was interesting to watch as he became more warm and understanding and showed his love for his children (and Maria). Samuel’s reaction to the Anschluss clearly showed his love of his country and determination to resist. His “Something good” (a welcome addition originating in the film) and “Edelweiss” with Maria and the children were very sensitively sung. Georg’s seven children , who had been left motherless when his wife died, were very well cast. Two groups took part at alternate performances and I’m sorry I was only able to see one – I’m sure the other group was just as accomplished. Ciara O’Hagan played eldest Von Trapp daughter at every performance. She was a typically headstrong teenager but obviously a very loving  ‘big sister’. Coy and a bit flirtatious when young Rolf was around, she sang and danced “Sixteen Going on Seventeen” very well. Aodhán Halfpenny was Rolf, the telegram delivery boy. His duet with Ciara was delightfully sung and danced; and when he was influenced to support the Anschluss he portrayed the Nazi character well. If any audience member was not familiar with the story, it would have been a suspenseful moment when he found the family in the Abbey roof garden!

Fourteen-year-old Friedrich Von Trapp was played by Ralf Smyth in quite a serious manner as befits the character, while Ava-Rose Gallagher took the role of Louisa in suitably mischievous fashion! Young Brigitta was played by Dayna Morgan. She showed the book lover to be clever at seeing everything going on around her and she wasn’t afraid to be blunt! Lucas Pataro was Kurt, the younger boy, who was a quiet and gentle  ten-year-old – also sweet and gentle was Esme McEvoy as Marta, who loved pink! Of course, the youngest child Gretl, (Petula Tin Wai Pei), was very endearing and cute! Only 7 years old and she knew her lines perfectly!

Georg’s old friend Max (Colin Boyd) and new lady friend Elsa Schraeder (Claire Howell) shared much “banter” – Max , who agreed with any idea that would help himself, and Elsa as the wealthy widow who has the Captain in her sights as next husband! Claire was elegant and sophisticated but flirtatious when with him. She was magnanimous in breaking up with him when she realised his immovable political views. Colin found all the humour in his character and made full use of comedy in the role. Von Trapp family servants – Jonathan Watts as Franz the Butler and Elizabeth Ross as housekeeper Frau Schmitt - were both formal and true to their characters. Elizabeth maintained her loyalty to the family and to Austria and showed a genuine affection for the children, while Franz disappointed by adopting the Nazi regime. Finally, the Nazi Officers Herr Zeller and Admiral von Schreiber (Michael Bradley & Fergal White) were typical unsmiling  and outspoken Nazis.

The mostly female ensemble made excellent nuns , who moved around in the background giving a believable impression of the Abbey and singing all the Latin chants most beautifully. They became guests at the Von Trapp party to accompany male chorus members, who then became Gestapo soldiers at the Festival (not a show that gives the boys much chance to shine!) The Saengerbund Trio Festival winners (Naomi Nixon, Anya Coates & Sandra Benson) got their chance to shine – and bow…and bow…!

This was a totally original production of a well-known and well-loved show. St Annes made an excellent setting and Director Gary Redpath’s vision overcame it’s limitations to create an impactful production. It was helped by the stunning background lighting by ACK Productions. Choreography -  particularly for the children – was simple, well drilled and effective and general movement around the stage (and sometimes including the aisles) was always appropriate. Colin Scott (who was semi hidden with his orchestra at the back of the Chancel) balanced his instruments and singers sensitively . It was a thrilling moment when the Wedding March was played on the great Cathedral Organ.

My sincere thanks go to everyone involved in this Production. I will remember it for a long time!

 

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