The Rodgers and Hammerstein much loved musical, The Sound of Music, has never had trouble pulling in an audience and the London Palladium production, presented by Andrew Lloyd Webber, David Ian, John Frost and The Really Useful Group that has opened in Adelaide found the Festival Theatre full on opening night, with people of all ages attending.
There would be few who do not know that it is the story of an exuberant young woman who has difficulty adjusting to life in the convent, and is sent to act as governess to the children of a widower naval captain for a time to develop responsibility and calm down a little before becoming a novice. Together, they all eventually became the von Trapp Family Singers and they escaped over the mountains to Switzerland in 1938, when the Nazis invaded Austria. It is, of course, based in reality.
The production opens, end the first act, and the performance, in the hands of the Abbess and her nuns. This role is played by Jacqueline Dark, who stole the whole show. Her rendition of Climb Every Mountain at the end of the first act is not something that the audience will ever forget. Her efforts were rewarded with massive applause and cheering during the bows, equalled only by the youngsters playing the Captain's children.
There are two alternating casts of the six younger children and, on opening night, they were Anna McAuliffe as Gretl, Danika Roach as Marta, Alicia Hammond as Brigitta, Oscar Bridges as Kurt, Jacinda Tsakalos as Louisa, and Nathan Staffords as Friedrich, all of whom were delightful and exceptionally well-rehearsed.
The central character is, of course, Maria Rainer, the postulant with a habit of singing enthusiastically, often at inappropriate times, becoming a concern for the Abbess and other senior members of the order. Amy Lehpamer is wonderfully exuberant and naïve as Maria, with a strong, clear soprano voice and youthfully energetic movements. She had the audience in the palm of her hand before she finished singing the first sentence of the title song.
In working out what to do about Maria the Abbess consults Sisters Sophia, Margaretta, and Berthe, portrayed by three superb singers: Johanna Allen, Eleanor Blythman and Andrea Creighton. The four present a very lively rendition of the number, as they wonder how to solve a problem like Maria.
Maria is in for a culture shock when she first encounters Captain Georg von Trapp and his children, to discover that his dealings with them are impersonal, communication carried out by signalling them with a whistle. After the death of his wife he has thrown himself into his work and suppressed his emotions, even banning music in the house so as not to recall his late wife's singing. This withdrawal has left him appearing cold but, as we discover later, it is a mechanism that he has employed to shield himself from any further chance of pain. This role is often played as hard and even angry but Cameron Daddo takes a different line, which is less intimidating and more likeable. With so many powerful voices in this production, though, Daddo's lighter voice is rather noticeable.
The eldest of the children, Liesl, is bordering on womanhood and has fallen for the telegram boy, Rolf Gruber. Stefanie Jones and Du Toit Bredenkamp are the young couple and charm the audience with their duet, Sixteen, Going on Seventeen. Young love goes sour, though, when he collaborates with the Nazis, and Liesl turns to Maria for comfort, admitting that she is not yet too old for a governess, in one of the many tender moments in the show.
Big houses do not run themselves and the von Trapp residence has a couple of real characters in Franz and Frau Schmidt, played by John Hannan as the rigid butler, looking down his nose at everybody, and that wonderful trouper, Lorraine Bayly, as the kind-hearted housekeeper. It comes as no surprise when he reveals that he, too, is glad to see the Nazi invaders take over the country, and her displeasure at this is clear, as she is a patriotic Austrian, like the Captain and his family.
Hanging around, enjoying the luxuries of staying at the home of the Captain, is Max Detweiler, busily organising a major musical event, his telephone calls at the expense of the Captain, along with helping himself to the hospitality of his cellar. David James gives us a self-centred freeloader who is impossible to dislike in spite of his failings, of which Max has many. He is politically ambivalent and, seeing that it is the best thing for him, he sides with the Nazis, much to the disappointment of the von Trapps. James balances the diverse aspects of Max with skill, giving us a three dimensional character in a role that could have easily been a mere caricature.
Although it seems that there is no real love involved, the Captain plans to marry Baroness Schraeder, a role that Marina Prior puts her own stamp on, creating a softer, more human character than is often seen. There is no calculating and aggressive side to this Baroness and, seeing the inevitable with the love between Maria and Georg hard to miss, she stands aside for them.
The set and costumes designs are by Robert Jones and, as the scenes change smoothly from the mountains, to the luxury of the von Trapp villa, to the interior of Nonnberg Abbey, one is continually amazed, with Mark Henderson's lighting adding all of the right touches to each scene.
Director, Jeremy Sams, has refrained from creating a sickly sweet musical, opting to call for deeper characterisations and a more naturalistic approach to this production, which works extremely well, particularly when the influence of the Nazis is felt and the armed storm troopers take up their places around the stage of the concert hall in the later scene before the family flee.
Musical director, Luke Hunter, and choreographer, Arlene Phillips, have both contributed a great deal to the production with a great band, terrific harmonies and lots of snappy dancing. This production has it all.
