Review: The Heartwarming, Moving, And Fabulously Fun, THE SOUND OF MUSIC Opens To Standing Ovation In Sydney

Thursday 17th December, 8pm, Capitol Theatre, Sydney

The London Palladium production of THE SOUND OF MUSIC, Produced by Andrew Lloyd Webber, John Frost, David Ian and The Really Useful Group, has come to delight Australia, starting in Sydney. The iconic Richard Rogers and Oscar Hammerstein II musical has been given a new life in this beautiful production, filled with stunning visuals and outstanding voices. The thunderous applause and post show buzz proves that this heartwarming story that made its Broadway debut 56 years ago (the movie premiered 50 years ago) is still relevant and is truly timeless.

In an era when many main stage musicals are utilizing CGI backdrops and effects, this production is refreshing in Robert Jones' decision to bring THE SOUND OF MUSIC back to a more traditional set design. Jones has created lichen covered rocky mountain tops, an opulent marble hall, idyllic garden terrace, and protective Abbey cloisters that support the performance without distracting from the action.

This production, directed by Jeremy Sams for the Palladium and directed by Associate Director Gavin Mitford for the Australian run is based on the original stage production which sees the plot move faster than the movie as some plot points that were elaborated on in the movie are simply referred to in conversation. Mitford has ensured that this production provides a more in depth understanding of the characters as Maria's (Amy Lehpamer) childhood is better explained and Mother Abbess (Jacqueline Dark) takes on a more maternal role with her rather than just being a religious leader simply trying to maintain order within the stone walls. Eldest daughter Liesl (Stefanie Jones) is given a more realistic doubtfulness and reluctance to accept the songs and games that Maria uses to connect to the younger children and Captain Georg von Trapp (Cameron Daddo) is quieter and brooding rather than being domineering.

The wonderful score is bought to life under Musical Director Luke Hunter's baton as he leads the 13 piece orchestra which supports the vocals and colors the soundscape. The Preludium of Dixit Dominus being sung at Vespers is breathtaking in its textured, emotive prayer and the audience receives its first treat of Jacqueline Dark's magnificent heavenly voice as Mother Abbess leads the choir of Nuns that move through the aisles. Maria's The Sound Of Music is a visual and musical contrast to the stone-walled Abbey. Amy Lehpamer has a crisp clarity as she sings and dances across the mountain tops. When the two combine for My Favourite Things, the nurturing parental care and common understanding of the power of music and enjoyment of life shines through in their energy and enthusiasm as Maria is let into the secret that Mother Abbess isn't as severe as she once thought.

Lehpamer brings a wonderful vibrancy and optimism to the role of the Governess as she expresses Maria's quick thinking as she seeks to connect with the children in Do-Re-Me, whilst overcoming the battles of sullen teenagers and precocious youngsters. Lehpamer gives a detailed performance that goes right down to her beautifully communicative eyes and her vocals are amazing in their precision and expression. She conveys the confusion of the seemingly forbidden love with sensitivity and innocence and connects with the 16 year old Liesl with warmth and respect. As with her previous role in HIGH SOCEITY, Lehpamer has a delicious physicality and sass about her performance style that enhances the impression of a free spirited, slightly socially awkward, young woman with the spark that is needed to lighten the Captain's household.

Dark's Climb Ev'ry Mountain is moving as Mother Abbess Counsels the confused and upset Maria and when the Reprise is used as a prayer of protection as the von Trapp family set out across the mountains. Dark has an authority, gravitas and power that is infused with sensitivity, care and compassion as she demonstrates that Mother Abbess can be both the leader of the Convent and care for Maria with the sensitivity of a parent.

The children, which for Opening Night comprised of Stefanie Jones (Liesl), Jude Padden-Row (Friedrich), Savannah Clarke (Louisa), Louis Fontaine (Kurt), Maddison Russo (Brigitta), Erica Giles (Marta) and Nakita Clarke (Gretl) perform beautifully, expressing the innocence yet sass of children and each having a distinct personality. The thunderstorm scene where they learn the Lonely Goatherd is delightful in its playfulness and physical comedy.

Daddo's Captain von Trapp is very reserved in Act One and doesn't really express much emotion with regards to his children, his state of mourning or the courtship of Baroness Schraeder. There is a beautiful moment when his walls start to break down as the children express their love for their father and he starts to understand that he needs to come out of himself. He opens up and expresses his emotions better in the Act Two with a start of an awareness of his affection as he forbids the children to sing songs that remind him of Maria.

Marina Prior and David James provide an amusing comic pair as Baroness Schraeder and Max Detweiler, scheming to arrange and advantageous marriage and profit from the children's talent. Prior presents the Baroness as someone that has affection for the Captain but is seeking a business merger rather than really being in love with him, coming across as more pragmatic in her desire to maintain her wealth and status. Prior does give the Baroness a sensitive side as she expresses her interest in the children and an understanding that the Captain will not compromise his values to save himself. James presents Max as a cheeky but loveable entrepreneur with questionable morals and has a delightful physical comedy and facial expressions.

Lorraine Bayly (Frau Schmidt) and Philip Dodd's(Franz) recovery from an onstage accident was handled wonderfully with many in the audience unaware that it was unplanned apart from the realization that it would be ambitious choreography to ask the septuagenarian to undertake 8 times a week. Whilst the two have smaller roles, they make the most of their brief time on stage, ensuring that each have a distinct character and provide amusing moments of comedy relief.

THE SOUND OF MUSIC is a wonderful production that would appeal to both fans of the movie and previous stage shows and also those that are unfamiliar musical theatre as it is more sensitive and detailed in its interpretation. Whilst Dark is predominantly known for her opera work, hopefully we will see more of her on the Musical Theatre stage. Similarly, I look forward to seeing Lehpamer's infectious smile in more leading lady roles.

(Title Photo: James Morgan)

THE SOUND OF MUSIC

www.soundofmusictour.com.au

Twitter: @SoundofMusicAU

SYDNEY

Capitol Theatre

From 13 December 2015

Bookings: www.soundofmusictour.com.au or 1300 111 011

BRISBANE

Lyric Theatre, QPAC

From 11 March 2016

Bookings: www.soundofmusictour.com.au or 136 246

MELBOURNE

Regent Theatre

From 13 May 2016

Bookings: www.soundofmusictour.com.au or 1300 111 011

ADELAIDE

Festival Theatre

From 9 August 2016

Bookings: www.soundofmusictour.com.au or 131 246

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