The Sound of Music
Music by Richard Rodgers, Lyrics by Oscar Hammerstein II
Book by Howard Lindsay and Russel Crouse
Directed by Jack O’Brien
The Fox Theatre
April 26, 2016
Kerstin Anderson
Photo by Matthew Murphy
The Sound of Music National Tour
The Sound of Music is unquestionably a musical theatre classic. Since its debut on Broadway in 1959, it has been performed in various productions around the world as well as two live television productions and, of course, the Oscar-Winning movie. I personally have seen so many productions of it that I’ve almost got the show memorized. Audiences generally know what to expect when they see this show. With the new touring production now on stage at the Fox, director Jack O’Brien has brought a good mixture of timelessness and immediacy to this time-honored show, as well as finding a promising young star to lead the cast.
Everyone knows the story, it seems. As Maria (Kerstin Anderson) finds it difficult to fit in at Nonnburg Abbey, the Mother Abbess (Melody Betts) decides the young would-be nun needs to see more of the world. So for that purpose, Maria is sent to be a governess to the seven children of lonely widower Captain Georg Von Trapp (Ben Davis), who since the death of his wife has become more of an authoritarian commander than a father to his children. Maria soon wins her way into the hearts of the children and, eventually, their father as well, despite the romantic efforts of the wealthy widow Elsa Schraeder (Teri Hansen), who also wants to marry the Captain. And then there’s the Captain’s enterprising friend Max (Merwin Foard), who hopes to recruit the children–whom Maria has taught to sing–to perform in a big music festival. And then comes the Nazi occupation of Austria, and the drama that follows.
Kerstin Anderson follows in the footsteps of many a Maria, including stage legend Mary Martin and the movie’s iconic Julie Andrews. Anderson, thankfully, doesn’t try to imitate her famous predecessors, although she has a quirkiness about her that is more comparable to Martin than to Andrews. She also has a youthful, energetic spirit and a great voice. As Maria navigates her road from the convent to the Von Trapps’ villa, Anderson visibly matures and acquires a sense of grace and poise. It’s an impressive performance, although she also occasionally tends to deliver her lines in an over-rehearsed, somewhat artificial manner. For the most part, however, she makes an excellent Maria, and she has great chemistry with Ben Davis’s charming, authoritative but increasingly boyish Von Trapp. Their love duet “Something Good” is very sweetly sung and their showcase dance charged with romantic tension. Davis also gets one of the show’s best moments when he leads his family in singing “Edelweiss” at the concert. There’s also a strong comedic performance by Foard as Max, and Betts as the Mother Abbess radiates kindness and strength, stopping the show with a soaring rendition of “Climb Ev’ry Mountain”. Other standouts in the cast are Paige Silvester as a particularly rebellious eldest Von Trapp daughter, Liesl, and Svea Elizabeth Johnson as the wise, observant daughter Brigitta. The children have a good rapport with Anderson’s Maria, and all the production numbers are well-done, including the energetic “Do Re Mi” and “The Lonely Goatherd”.
Visually, the production is impressive as well. Douglas W. Schmidt’s excellent set is notable for its period authenticity and colorful painted backdrops of beautiful mountain vistas, well-lit by lighting designer Natasha Katz. The costumes by Jane Greenwood are well-crafted and suited to the characters, from the nuns’ habits to Maria’s succession of dresses that range from the frumpy to the elegant. The children’s play costumes, supposedly made by Maria from the curtains in her bedroom, are appropriately whimsical. Maria’s hairstyles also go through a believable progression throughout the production, so kudos to hair designer Tom Watson for that effect.
Overall, the tone of this production strikes a good medium between the classic and the new. There’s a sense of energy and urgency brought to the proceedings, as well as an authentic-seeming 1930’s sensibility and an “old Broadway” style without seeming too dated. It’s not trying to to overly innovative or different. It’s just trying to tell the story and tell it well, and for the most part, this iteration of The Sound of Music achieves that goal. It’s a delightful show.
Ben Davis and cast
Photo by Matthew Murphy
The Sound of Music National Tour
The national tour of The Sound of Music is running at the Fox Theatre until May 8, 2016.
Leave a Reply