The Sound of Music conjures up memories of Christmas past for me. Falling asleep on the sofa after overdosing on Quality Street and waking up, ever so slightly hung over from the brandy in the Christmas pudding, to see some small children singing So Long, before fleeing the Nazi’s and I fall back to sleep.
Critics have often been unkind to the film, but audiences adore the tuneful tale of Maria and the Von Trapp family as much as they do the iconic songs. I remember the film as being overly long, and the kind of thing your Mum loves, so would I be able to stay awake for this, Bill Kenwright’s production visiting Nottingham’s Theatre Royal.
This version, directed by Martin Connor has cut no corners for touring, but behind all the charm and beautiful scenery of those famous mountains, there lays something important at stake – ethical dilemmas and the choice between right and wrong. The political undercurrent, the Nazi threat and the upheaval of people’s lives are all necessary parts of what makes The Sound Of Music so special.
The show begins not on a mountaintop, but in the Nonnberg Abbey, with the preludium sung in Latin beneath a stained-glass window. The Voice finalist, Lucy O’Byrne takes on the role of Maria and note-perfect, makes it her own. Warm and likeable, at the heart of the story, she does justice to to the famous score by Rodgers and Hammerstein classic. Delivering a wonderful performance of magnificently structured songs including My Favourite Things, Do-Ra-Mi and of course, The Sound of Music. How do you solve a problem like Maria, who seems too kind and sweet for words? O’Bryan solves this problem as Andrews did originally, by focusing on what makes the show great — its songs, along with a touch of wit.
Coronation Street start Andrew Lancel takes on the role of Captain von Trapp. An aloof disciplinarian, whose strict barriers are broken down by his encounter with Maria and by music. Was there chemistry between Maria and the Captain? Not overly, but enough to help carry the sugar sweet story to it’s predictable happy ending, and you’ve got to love one of those.
The Mother Abbess, played by Jan Hartley has only a few scenes, but is pivotal to the story and delivers one of the show’s most memorable tunes, the uplifting and inspirational anthem Climb Ev’ry Mountain.
Howard Samuals nearly steals every scene he’s in as the cynical Max Detweiler, teamed with Lucy Van Geese as the wealthy Elsa Schraeder, who means to marry von Trapp, the pair provide the evening’s comic relief with clever and acerbic songs like How Can Love Survive? and No Way To Stop It.
The children are as cute as they ought to be, with Annie Holand putting in a fine performance as confused adolescent Liesl; demonstrating great vocals in her duet with Rolf (Kane Verrall) both confident young performers, in the now somewhat dubious Sixteen Going on Seventeen.
Gary McCann’s set design features beautifully painted backdrops, and a magnificent majestic staircase I just want to run up, allowing Director Martin Connor and Choreographer Bill Deamer the chance to paint brilliant images that evoke pre-war Austria.
It was great to see an audience of all ages enjoying The Sound Of Music. You can’t deny there is something magical about it that defies age, with generation after generation still falling in love with this tale of family, love and adversity guaranteed to leave fans humming to themselves as they leave the theatre. ‘Even I stayed awake for this one’- Put that on the side of a bus!.
Tickets from £15 and showing at Theatre Royal until Saturday 24th September, available here.
Review By Tanya Raybould
Editor
@tanyalouiseray
