Review: THE SOUND OF MUSIC Is Sweet But Not Saccharine

This past week, Broadway at the Hobby Center brought a new production of Rodgers and Hammerstein's THE SOUND OF MUSIC to Houston.

THE SOUND OF MUSIC (for the few of you who may not be familiar) is about Maria, a postulant at an Austrian abbey whose personality is a little too big for the stone walls surrounding her. Seeing this, the Mother Abbess sends Maria back out in to the world to discover God's will - and governess for Captain von Trapp, a widower with seven children. There, Maria's kind heart and enthusiasm win over both the children and the Captain, but a shadow in the form of Hitler threatens the family's newly discovered happiness.

Maria is a tough role, if only because it is so heavily associated with Julie Andrews and Julie Andrews is, well, Julie Andrews. That said, Kerstin Anderson's Maria is a delight. Anderson plays Maria with an infectious, fresh-faced exuberance and childlike optimism, her voice a pleasant, spirited beacon to not only the von Trapp family but the audience as well. Anderson is also able to play the character's quiet notes; when she sings "I go to the hills when my heart is lonely" in her opening number, "The Sound of Music," it is with such a wistful melancholy that I admit to getting a little misty-eyed.

Opposite Anderson is Ben Davis as Captain Georg von Trapp. Davis makes the show's most dramatic transformation, going from stern, distant disciplinarian to loving father and (later) husband. His chemistry with Anderson is undeniable, as is his talent. Davis turns in an achingly beautiful and haunting rendition of "Edelweiss" that is not to be missed.

Speaking of not to be missed, Ashley Brown's performance as The Mother Abbess is the true highlight of this production. Her kindly, empathetic nature and her soaring vocals are quite the combination. In particular, her early duet with Anderson on "My Favorite Things" is a highlight of the show.

Other noteworthy aspects of the show include the performances of the von Trapp children, Teri Hansen, and Merwin Foard, and the impressive set and lighting design. The von Trapp children (Paige Silvester, Jeremy Michael Lanuti, Maria Suzanne Knasel, Quinn Erickson, Svea Elizabeth Johnson, Mackenzie Currie, and Audrey Bennett) are utterly charming and make the most of the show's most fun and iconic songs ("Do-Re-Mi," "The Lonely Goatherd," and "So Long, Farewell"). And, as oldest von Trapp daughter Liesl, Silvester's duet with Dan Tracy's Rolf in "Sixteen Going on Seventeen" is as sweet as it is playfully romantic.

Teri Hansen is able to create a sympathetic character out of Elsa Schraeder, a role that can easily slip into villainy as a romantic rival to Maria. And Merwin Foard, as Max Detweiler, is a treat and a guaranteed laugh any time he is onstage.

The production, directed by Jack O'Brien, finds the perfect balance for a story like THE SOUND OF MUSIC. Rodgers and Hammerstein's classic can be sickeningly saccharine in the wrong hands and therefore easily dismissed. But O'Brien's vision is a bit more weighty and grounded and complemented brilliantly by the work of Scenic Designer Douglas W. Schmidt and Lighting Designer Natasha Katz.

Schmidt has designed some complex, colorful sets. They tower and move bringing an added dynamic to each scene. In the second act, it is the black swastikas against a blood red background that evoke the most visceral of feelings, their simplicity leaving the audience feeling as sick as Georg looks. Katz was able to play with light and shadow to amazing effect (especially during Maria and the children's rendition of "My Favorite Things" and during the wedding).

Though the last strains of THE SOUND OF MUSIC may have faded, the Hobby has much more in store for us this spring including MARY POPPINS, CABARET, OLIVER, DISNEY'S BEAUTY AND THE BEAST, and HEATHERS. For more information, please visit http://www.thehobbycenter.org/. Don't miss out.

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