The Sound of Music – REVIEW
Image: Willoughby Theatre Company - The Sound of Music. Image: Grant Leslie Photography
It is arguably one of the most popular musicals of all time, with a soundtrack many people know intimately. That explains why the Willoughby Theatre Company made an announcement just prior to their opening night performance of The Sound of Music at The Concourse asking the audience to refrain from singing along.
Darn good thing too, because no one needs to hear off-key (if jubilant) voices from the stalls when there is such stunning vocal talent on stage.
This is a beautiful production of Rodgers and Hammerstein’s beloved musical, and despite the fact that The Sound of Music has been produced literally thousands of times on stages around the world, WTC manages to make this version feel fresh and innovative.
For those who only know this musical through the iconic 1965 film adaptation, it’s best to try and push all those classic scenes out of your head. The film took liberties with the original script, omitting songs and changing things around; making comparisons will only ruin this show for you. And this show is brimming with brightness, romance, melodrama and sheer joy.
With limited stage space on which to depict an opulent villa, a cavernous abbey and the Austrian alps, the design team has created a brilliantly versatile set. Using a revolve, they have constructed three scenes: the foyer of the villa replete with staircase; Maria’s bedroom with small bed and those drapes; the garden courtyard; and the austere abbey.
Clever lighting helps complete the effects for each. For the abbey it’s particularly effectively used, with the mostly dim scene being lit selectively with an ethereal glow and projected stained-glass windows.
More than anything else, though, it’s the performances that make this show special. Felicity Caldwell is extraordinary in the central role of Maria. Her voice is exquisite and she has star-quality stage presence with oodles of charisma.
Marcus James Hurley has a powerful, mellifluous tone to his singing. His Georg is quite sombre but there’s a likability to his seriousness.
Taryn-Lea Bright and Clive Hobson make a delightful duo as Baroness Schraeder and Max Detweiler respectively. The baroness is not the villain she is in the film version, which is a shame because you get the sense that Bright would have landed some of those delicious barbs delivered by Eleanor Parker in the film.
Mother Abbess is played by Tisha R. Kelemen who has a huge voice and lots of matronly warmth.
The Von Trapp children are pivotal characters and are played by an exceptional group of young performers. Abbey Thomas is gorgeous as Liesel and Jimmy Chapman plays Friedrich with astute humour. The remaining children are played by an alternating cast. On opening night they were Lana Harmey (Louisa), Gabriel Wright (Kurt), Chloe Brown (Brigitta), Lilou McKenzie (Marta), and Amy Mogan (Gretl) and they were all utterly brilliant.
The WTC’s production of The Sound of Music is as good as any you’ll see – thoroughly entertaining and worthwhile.
