The Sound of Music

The Sound of Music stage musical opened on Broadway in November 1959 and ran for nearly 1500 performances, winning 5 Tony Awards (from 9 nominations) including Best Musical. Premiering in the West End in May 1961, it ran for 2386 performances! In 1965 it was adapted as a film starring Julie Andrews and Christopher Plummer winning 5 Academy Awards including Best Picture.  Julie recently celebrated her 90th birthday!

Newry’s permanent set  was an adaptable and pretty one with 2 steps leading up to French doors suitable for indoor or outdoor view, and balustrades on either side at the next level down. A backdrop of Austrian mountains was on distant view and, with appropriate props, became an indoor or garden scene. There was lovely period furniture indoors. Scenes in Nonberg Abbey were played in front of black tabs  with a large stained-glass “window” which was trucked in for various abbey scenes. Props were generally suitable - I loved the carved chairs in the Mother Abbess’s office but the position of the single chair, down stage left, meant that Maria was often speaking with her back to the audience.  Lighting and Sound were variable – I don’t know why we had some bursts of smoke at odd times, and some sound effects were overly loud (the thunder was more like a drum bang than nature’s roar.)

Nuns’ costumes looked authentic, particularly the wimples, and children’s matching costumes were good but their party/bridesmaid were not, particularly Liesl’s. The guests at the Von Trapp party were in much too modern gowns for the era as were their hairstyles.

Judith Quinn gave a beautiful performance as Maria, showing a genuine affection for the children. Her clear soprano voice delivered all the well-known songs with enthusiasm and energy, while the romantic “Something Good” with Georg was emotionally delightful.  A heartwarming performance!

In the role of Georg Von Trapp, Paul McParland began with the stiff precision of a retired naval captain and a very distant relationship with his seven children. It was rewarding to watch him transform into a loving father again. Although he doesn’t get many chances to sing Paul had a very pleasing voice, especially in ‘Edelweiss’.

Two groups of children played the Von Trapp family. Team “Hammerstein” were on stage for the performance we attended – I’m sure Team “Rodgers” performed just as well. Tara Lundy (Liesl) and Ellie Lavery (Louisa)  were in both teams. The boys – Dante Campbell (Noah Boyle) as Friedrich and Ruairi Coffey (Leo Magill) as Kurt were confident and enthusiastic. With lovely vocals Ellie Lavery played Louisa as a bit of a rebel and clever trickster! Eibhlinn McNeill (Charlie Crawley) was Brigitta – noticeable for her opinionated manner and perceptive nature. I see a young actress in the making in Eibhlinn! Nora Jackson (Charlotte Prentice) was a sweet and gentle Marta and as youngest child Gretyl, Niamh McParland (Tessa Meehan) was just adorable and never missed a cue!(Perhaps Niamh’s daddy was playing her daddy!?)

As eldest daughter Liesl, Tara Lundy gave a lovely performance as a rather headstrong young woman who feels she is grown up but becomes a bit coy when confronted with a “17 going on 18” boy! Her song and dance piece with Conor Sands as telegram boy Rolf was sweetly sung and thoughtfully acted. Also, her rapport with her new governess Maria developed beautifully. Conor had a promising baritone voice and, looking older than his 18-year-old role, he will soon be ready to become a leading man. All the Von Trapp children were well rehearsed with excellent vocal harmonies and well taught choreography -  and their enthusiasm was infectious!

Eoin Sands was a real charmer as Max Detweiler. Enjoying the good life of his friend Georg he was an affectionate ‘uncle’ to the von Trapp children and held a successfully controlling balance between wit and charisma and the need to support his friend’s anti-Nazi views. Roisin McKenna gave a stylish performance as Elsa Schraeder and, although some would say that “How can Love Survive” is not a good number, I think Roisin did it full justice. The family Butler and Housekeeper (Franz and Frau Schmidt) were played as efficient servants by Neil Heaney and Catherine Farell. Franz’s formality became fascist, but Frau Schmidt stayed staunchly loyal to the Captain’s values. It was obvious that she loved the children. The Nazi officers – Herr Zeller and Admiral von Schreiber – were suitably stern Naval officials. Neil Heaney played the no-nonsense Zeller and David Cunningham filled in as the Admiral for Dennis Walsh who was unwell.

Moving to the religious orders, Veronica Barr was a triumph as Mother Abbess. Original in her interpretation of “Favourite Things” as she interacted warmly with Maria and her authority when dealing with the other nuns was  strong but graceful. Veronica can act through facial expression like no other! The three senior nuns – Sisters Berthe, Margaretta and Sophia – were very different characters and each of the three displayed the differing traits. Eithne Bell (Sister Berthe) was the straight-laced killjoy who showed her disapproval of Maria in no uncertain manner; Maria Byrne (Sister Margaretta) was kind and encouraging, while Helena Hughes (Sister Sophia) just towed the line while being quite amused by Maria’s antics! The audience’s favourite, “How do You solve a Problem like Maria?” was a highlight, with vocal harmonies and humour.

The ladies of the Ensemble, who mainly appeared as nuns, harmonised beautifully, reached great heights in their Latin chorales and always appeared with gentle gravitas. When on stage as friends and guests at the captain’s ball they fulfilled their upper class attitudes alongside the men (who are seldom featured in this show). As uniformed soldiers of the Third Reith they looked convincingly  alarming.

As his final directorial production, Davd Cunningham’s approach was one of sensitivity to all the nuances of the (true-ish) story. Being 50 years since it premiered as the last collaboration of Rodgers & Hammerstein, it has been a popular choice of amateur musical societies this year and each has had differing and innovative approaches. David instilled much warmth and sincerity to every aspect, and his local audience loved every minute. Choreography by Lisa Irvine (who is David’s daughter and has been involved in NMS since she was a child) was bright and original, particularly with the children. They were very well rehearsed  with quite complicated  movement and “armography”! “The Lonely Goatherd” and “So Long, Farewell” were especially memorable. MD Fiona Flynn led her large Orchestra very well and balanced with the performers on stage (and indeed some vocals coming from the wings.). The soaring harmonies of the nuns’ chorus were highlights. I wonder if, with no orchestra pit in Newry Town Hall, some sort of barrier or heavy low curtain could be set up to dull the full sound from those in the front rows of the auditorium ?

I brought Kerry Kane, who will become NMS’s Noda Representative in the new year, with me and we both thoroughly enjoyed the show. I would like to thank the society for the beautiful bouquet they presented to me after the curtain, for all the invitations sent over the past 20 years and the welcome and hospitality I have received from you. I will continue to support the society whenever I can in the future and can assure you that I’m leaving you in Kerry’s competent hands.

 

 

The views in this report are solely of the author.

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