The Sound of Music

Always a great favourite with audiences, producing full houses, The Sound of music was written by Howard Lindsay and Russell Crouse based on the 1949 memoir of Maria Von Trapp – “The Story of the Von Trapp Family Singers”.

The original Broadway stage production opened in 1959 starring Mary Martin and won 5 Tony Awards. It reached the West End in 1961 and has enjoyed numerous revivals since then. The film version came out in 1965 winning 5 Academy Awards. It was the last musical written by Rodgers & Hammerstein as the latter died nine months after the Broadway premiere.

Fusion’s set, designed by the Director and Neil McGarry, was a lovely garden with 3 stage wide patio steps on which were white balustrades with flowerpots and a flower arch. The backing was a painted view of snow clad Austrian mountains. This permanent set was needed for the constant use of the large cast. Props creating the Mother Abbess’ office, Maria’s bedroom, Nonnberg Abbey, the Concert Hall  etc were brought on as necessary (as Maria’s bedroom usually includes only one small, curtained window , I always wish that there was a bed spread of the same material so that there might be enough to make children’s clothes! Just a bugbear of mine!!) Lighting was used to isolate smaller areas as appropriate. Sound was well balanced – if the orchestra occasionally seemed  a bit too prominent it was my fault for choosing to sit in the front row right beside them! Lighting was mostly bright and full stage because it needed to cover such a large cast – but in scenes such as hiding from the Nazis it was suitably atmospheric. Costumes under the supervision of Annieca Haddock were spot on – I suspect that many were made by her as have many in the past! Her talent does not only run to costumes – she made several wonderful goat string puppets for the “Lonely Goatherd” musical number.

Two girls shared the role of Maria – Cara Linden and Blanaid Hughes. The latter was listed in the programme for Saturday night when I had the pleasure of attending and I’m sure Cara was equally as good. As a free-spirited young woman Blanaid was a delight – totally convincing as the postulant who was trying hard to fit into the way of life of a nun. She had great rapport  with all the Von Trapp children when she became their governess and, although Blanaid is only 18 herself, she acted with maturity when the family found themselves in danger from the Nazis. I wasn’t surprised when she fell for Adam Quinn as Captain Georg Von Trapp! Adam was perfect for the role – dignified and commanding but also kind and noble in standing. I hope that Adam’s future career as a pilot leaves him time to pursue his hobby in acting as he has a very natural stage presence. I was impressed also, by Molly Gribbon as Baroness Elsa Schraeder. Often a difficult part to play, Molly brought an elegant sophistication to this wealthy widow – with hints of flirtyness as well!  Daniel Boylan was very well cast as Max Detweiller. He was charm personified, clever as he managed to influence his rich friends and totally assured in his role!

The Von Trapp children – Liesl (Aimee Brennan), Freidrich (Evan Derritt), Louisa (Katie Johnson), Kurt (Lorcan Hughes), Brigitta (Aoife Breslin), Marta (Ava Matthews), and Hansel (Jude Bell) – each showed individual charactisation very well -  serious, mischievous, perceptive, gentle, peace-making, endearing…..  The youngest child is normally a cute little girl but worked equally well turning Gretl to Hansel- and just as cute! All acted their socks off and were a pleasure to watch! As oldest child Liesl, Aimee showed exactly the right teenage characteristics – (oh I forgot - she is one(!) - sometimes headstrong, sometimes coy, sometimes flirtatious but always loving. Her song and dance number  “16 going on 17” was graceful and beautifully sung, in her youthful dalliance with Rolf Gruber (Aizan Martin). I’m sure that anyone who hasn’t seen this musical before was shocked when Rolf was  revealed to be a Nazi sympathiser, as I was when I first saw the show many years ago – and relieved when that past relationship led him to protecting the family Von Trapp and not giving them up to the Nazis.

The nuns of Nonnberg Abbey played a large part in this story.  India Clements took the role of the Mother Abbess with gravitas beyond her 18 years. Having a diploma in Classical singing and an A level in Music, India sang the well known “Climb Every Mountain” in beautifully steady manner and “My Favourite things” in warm and light-hearted mode. Always dignified, she was an inspirational leader to the nuns. Her three ‘sisters’ – Bertha, Margaretta and Sophie were each shared by two actors - giving more girls the chance to show their talents. Sister Bertha (Ella Matthews & Dearbhla Lynch) was Mistress of Novices and the most outspoken of the trio. She was rather straight-laced and self-righteous in her views on the free spirited postulant. Sister Margaretta (Mollie Rodgers & Hannah Hall) were kind and gentle nuns who were more sympathetic and encouraging in their views and Sister Sophia (Connie Taylor & Katie Bell) quietly kept a low profile and didn’t express any differing opinions!

Franz  (Oliver Stevenson) was a very formal butler. As a German, it was not surprising that he supported the Anschluss but housekeeper Frau Schmitt (Meabh Drain) was very loyal to her employers - she was quiet and unassuming in her role. As Herr Zeller and Admiral Von Schreiber, Noah Patterson and Oran Lynch were singularly menacing Nazis – very easy to dislike! All the minor parts were undertaken with diligence and in Ensemble all were fully engaged in the action when necessary, while quietly in the background  when appropriate.

As Director and Choreographer, it was evident that Michael McEvoy had put a lot of thought into the creation of this much-loved show, to include all the young people as much as possible. A few adjustments were necessary, but all worked well, while Megan McGarry and Katie-Rose Williams (ex Fusioneers as well as Michael himself) were able to use their talents to assist. Musical Director Keith Pyper led his 11-piece orchestra with experience and had taught the music to the young cast very well – especially the Latin Choral work. 

I am always delighted to attend Fusion’s productions and, as usual, they didn’t disappoint. My thanks for your welcome and hospitality and congratulations to everyone involved in bringing The Sound of Music to life again.

 

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