THE SOUND OF MUSIC

THE SOUND OF MUSIC

WAODS at the Public Hall, Witham

27.10.2014

The Sound of Music is one of the last great book musicals, and one of the best known, largely due to those post-turkey screenings of Christmases past.

Good to see the show live on stage again in the Public Hall in Witham.

Among the strengths of Eric Smart's production for WAOS are impressive choral singing [the MD is Susannah Edom] both from the nuns of Nonnberg, and from the Von Trapp family, and an excellent group of children, from Faith Rogers' lovely Liesl to Ella Bradley's tiny Gretl.

The demanding role of Maria is taken by Corrina Wilson, in a spirited, extrovert performance, with huge stage presence. Perhaps a little too knowing, a little too pert at times, but every familiar number is wonderfully sung.

A perfect performance, too, from Julie Codling as Elsa – stylish and shallow, making the most of the catchy How Can Love Survive trio with the upright Naval Captain Georg [Niels Bradley] and the amoral Max [Tom Whelan] And Janet Moore makes a marvellous Abbess, singing Climb Every Mountain with superb phrasing and real emotion.

Do-Re-Mi is imaginatively staged and energetically realised, and there's inventive choreography for Liesl and her beau Rolf [a personable Edward Tunningley] in Sixteen Going On Seventeen. We are treated to a big Viennese wedding, and an elegant soirée for Elsa.

Elsewhere, it's a swings and roundabouts show. A great stage picture for the moving final number, but a very cramped corner for the Abbess's Office. Stunning swastikas and storm-troopers for the Festival Concert scene, but the key moment where Georg's hard heart is melted by music goes for almost nothing. There's a sadly un-Alpine lakeside not only for Georg's villa, but also for Maria's beloved hillside. And those unmistakably English church bells …

THE SOUND OF MUSIC

THE SOUND OF MUSIC

Springers at the Civic Theatre, Chelmsford

13.06.13

Rodgers and Hammerstein's late great musical comes back to the Civic, in a lively and stylish production directed by Pam Corrie.

The opening sets the standard for the chorus work – all those nuns – and for the design – slightly surreal cabinets full of candles.

Chief ornament of the show is Kayleigh McEvoy's marvellous Maria. Beautifully sung, with a soupçon of humour and superb stage presence, melting the heart of her stern naval captain [Mat Smith].

The seven children she cares for are carefully characterized, from Liesl [Mae Pettigrew], sixteen going on seventeen, with a crush on the telegram boy, impressively done by Aaron Crowe, to Charlotte Golden's little Gretl. Bethan Evans makes a charmingly perceptive Brigitta.

Abbess Catherine Gregory delivers a powerful anthem, and duets wonderfully with Maria in Favourite Things.

This confident, big-hearted production has many memorable moments, not least the moon and the mountain in the final tableau. Like good Austrian patriots, we sing along to Edelweiss, undaunted by the SS officers in the auditorium. The complex scene changes are swiftly accomplished, though some black holes remain, not all of them covered by music.

Plainchant, Viennese waltz, wedding music, all very impressive – Ian Myers the Musical Director. Sometimes the sense and the emotion of the dialogue could be pointed up more. Diction is variable – not just the German and the Italian, either. And the sophisticated musical comedy trio [Barry Miles as Max, with Olivia Gooding a cool, elegant Elsa] seems rather staid.

Always good to rediscover the show behind the film, and this production certainly delighted the midweek audience in a packed Civic. Springers have a distinguished history, reviving both the big hits and the cult classics – up next is Whistle Down The Wind, at the Cramphorn in November.