The Sound of Music Youth Edition

Priory Players’ production of The Sound of Music Youth Edition, performed at Ossett Town Hall, was a heartwarming and polished celebration of young talent, bursting with energy, charm, and an exciting promise for the future of musical theatre.

The show opened in the tranquil walls of Nonnberg Abbey, where the angelic harmonies of the nuns set the tone for a spiritual and melodic journey. Isla Cook brought grace and gentle strength to the role of Maria Rainer, portraying a young postulant torn between the walls of the abbey and the lure of the hills. Her performance showed maturity beyond her years, with expressive body language and moments of quiet reflection that brought depth to her character.

The ensemble of nuns brought both humour and heart to the opening scenes. Nieve Forster (Sister Berthe), Bronwyn Barr (Sister Margaretta), and Ava Dobson (Sister Sophia) gave thoughtful, well-paced performances, creating a believable dynamic within the convent. Ruby Sadler delivered a poised and confident performance as the Mother Abbess, her rendition of “Climb Ev’ry Mountain” providing a powerful emotional anchor.

Maria’s introduction to the Von Trapp household was met with wide-eyed curiosity and humour, as the Von Trapp children each brought unique personalities to the stage. Francesca Abbott led the sibling group with confidence and vocal flair as Liesl, while Freya Harding (Friedrich), Chloe Oldroyd (Louisa), Evie Sadler (Kurt), Erin Wainwright (Brigitta), Lola Sadler (Marta), and Daisy Keane (Gretl) were delightful to watch, combining discipline with charm. Their rendition of “Do-Re-Mi” was a particular highlight, full of joy and coordinated movement, thanks to the slick choreography by Eliza Keane and Katie Bradshaw.

As the story progressed, Cayden Carter gave a standout performance as Captain Von Trapp. Commanding the stage with gravitas and emotional control, he showed a remarkable ability to switch from stern patriarch to vulnerable father and loving partner. His vocal control and presence were exemplary—definitely a performer to watch in years to come.

Alfie Parkin charmed as Rolf in “Sixteen Going on Seventeen,” showing strong chemistry and trust in the choreography with Francesca Abbott. Joshua Oldroyd brought charisma and comic timing to Max Detweiler, while Darcey Gibson (Frau Schmidt) and Hugo Taylor (Franz) supported the action with great timing and clarity. Jessica Roberts and Liv Lambert brought a chilling edge to the political undertones of the show as Herr Zeller and Admiral Von Schreiber.

The production was visually stunning. Under the direction of Gill Shelton and Katie Bradshaw, the staging was tight and creative. Tom Newham’s set design was a triumph—his use of a curved staircase and seated levels beneath a period-inspired arch was visually striking and cleverly practical. The detailed set, paired with impeccable costumes from a large and clearly dedicated wardrobe team, transported the audience effortlessly to 1930s Austria.

Musical Director Joel Griffin led a confident musical ensemble, with strong vocal work across the cast. The choreography was youthful and effective, never feeling out of place or overcomplicated.

Constructively, there is room to grow in character development and physical acting. As the cast matures, greater attention to accents and using physicality to show age and status will bring even more believability to their performances. Encouraging young actors to think deeply about their characters’ motivations and relationships will continue to enhance already strong foundations.

Overall, this production showcased a wealth of promising talent, backed by a dedicated creative team. Congratulations to everyone involved in a beautifully realised and joy-filled production of The Sound of Music Youth Edition. The hills—and the future—are truly alive with the sound of talent.

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