As anyone who read my last blog entry would know, I was eagerly anticipating NBC’s broadcast of The Sound of Music, which finally aired last night after months of hype, and it seems like everyone was talking about it online. It was on Twitter, Facebook, the BroadwayWorld message boards, and many other places online, and I can’t remember the last time (if ever) I have seen so much buzz for a theatre-related event among the general public. The show also apparently drew huge ratings for the night, and today, people are still talking about it (good and bad). As for my own thoughts, I think this was overall a positive night for theatre and the production itself was entertaining if not perfect.
This biggest reason for all the hype surrounding this event was the casting of Carrie Underwood as Maria. She was the undisputed main draw of this production, and I defended her casting in my last article when I had only heard clips of her singing and hadn’t seen her act the role, so I was particularly curious to see how she would perform in the show. I think the best way to describe her performance is “un-polished, but earnest”. Underwood was obviously trying her best, emphasizing Maria’s youth and naivete, but her lack of acting experience was apparent. Early in the performance, she appeared to be somewhat overwhelmed by nerves and simply seemed to be reciting lines, except when she sang and she was more in her element. Then, about halfway through the first act, after a particularly rousing and charming rendition of “The Lonely Goatherd” with the well-cast group of Von Trapp children, Underwood started to loosen up, and had some genuinely convincing moments, such as her confrontation of Captain Von Trapp (Stephen Moyer) about his neglect of his children, her reactions to The Mother Abbess’s (Audra McDonald) glorious “Cimb Ev’ry Mountain”, and a nice little moment with McDonald before the Captain and Maria’s wedding, where Underwood seemed to finally let go of any residual nervousness and displayed a warm, genuine smile. Underwood has an inherent likability about her that, I think, made her deficiencies as an actress a little easier to bear, and her voice was strong in the musical numbers. Overall, she came across as a singer and not an actress. She did seem to have some flashes of acting talent there, though, and I would be curious to see her try more roles in the future, with some training (but starting with smaller projects than this one).
As for the rest of the cast, the Broadway veterans were, to my mind, the real stars of this show. Every moment Audra McDonald was onscreen, she got my attention with her strong, authoritative but warm characterization and that glorious voice of hers, which was best highlighted in the soaring “Climb Ev’ry Mountain”. She also seemed to help make Underwood’s performance stronger in all of their scenes together. Laura Benanti was the best Elsa Schraeder I’ve ever seen, bringing all the wit and sophistication, as well as much more sympathy to the character than usual, and her scenes with Christian Borle as the enterprising Max Detweiler were particularly well done. Borle brought intelligence and charm to his performance, as well, and I was also impressed by the strong performances of Kristine Nielsen as the Von Trapps’ housekeeper Frau Schmidt and Sean Cullen as butler Franz. The children, led by the winning performances of Ariane Rinehart as Liesl, Sophia Caruso as Brigitta and Joe West as Kurt, were well-cast and engaging, performing their scenes with energy and a good sense of familial rapport, and in great voice on numbers like “The Lonely Goatherd” and “The Sound of Music”.
Some of the casting was more problematic, however. Michael Campayno as Rolf the delivery boy is nice-looking and had a good voice, but seemed too old for the much more youthful-looking Rinehart as Liesl, and “Sixteen Going On Seventeen” had some charm but ultimately lacked believability. Moyer as Captain Von Trapp was more of a one-note characterization, and his chemistry with Underwood seemed more friendly than romantic, but he did have a bit of a nice moment with “Edelweiss” late in the production.
In terms of the production as a whole, which was directed by Rob Ashford and Beth McCarthy-Miller, I thought it had the look of a daytime soap opera in terms of filming, but the sets by Derek McLane were stunning, from the forested hills to the grandeur of the Abbey and the opulence of the Von Trapp villa. I also thought the changes between scenes were clever and well-executed, especially the transition from the Von Trapps’ mansion to the music festival towards the end of the show. There were some strange camera angles, though, and too many shots of the backs of people’s heads, and the costuming mostly ranged from good enough (for most of the performers) to unflattering (most of Underwood’s outfits in the second act). The sound was muddled, with an odd background humming during the dialogue scenes. The mixture of the pre-recorded orchestral tracks with the live vocals seemed disjointed, especially in the Abbey scenes with the nuns and at the end when McDonald’s reprise of “Climb Ev’ry Mountain” was drowned out by the music. Some of the pacing also suffered because of the lack of a live audience, and I hope that if NBC ever does this again with another musical, they will include an audience. I think some of the audience feedback may have helped less-confident actors like Underwood find their energy, and it might have helped with the flow of the production as well.
Despite the production’s flaws, this is an amazing event in terms of exposure for musical theatre to the general public. The net was alive with the buzz surrounding this production last night, and I hope NBC capitalizes on that by producing more live broadcasts of musicals. Perhaps they could find a star performer with a little more confidence in the acting department and have even more success the second time around. Still, even with its limitations, I view The Sound of Music Live as a success, and I’m glad I was able to see it and engage in some great discussions with friends and acquaintances online. I hope this leads to bigger and better developments for musical theatre on TV in the future.
