STC’s Sound of Music climbs every mountain | Arts Features

“What’s going to happen is going to happen. Just make sure it doesn’t happen to you.” – Max Detweiler in The Sound of Music.

Two characters in The Sound of Music, Max and Elsa, choose to remain neutral for the sake of comfort and safety during the rise of Nazi Germany in 1938. Their attitudes of “go along to get along” and privileged apathy offer a lens through which to explore certain human responses to encroaching authoritarianism and how people navigate moral dilemmas in politically charged times.  At that time in history, many were not afforded such a luxury and suffered dearly. Others were defiant, and chose the path of principled resistance. One such person was Captain Georg Von Trapp, who sees what’s on the horizon as a betrayal of his, and his nation’s, values.

Based on the book The Story of the Trapp Family Singers, a memoir written by family matriarch Maria Von Trapp, The Sound of Music depicts the true story of an Austrian naval captain, his seven children and a nun postulate named Maria, who came to them as the latest in a long line of governesses. The timeline is the eve of the Anschluss – the annexation of Austria into Nazi Germany – and amid this turmoil are two people falling in love. In addition to being a bit of a history lesson and love story, The Sound of Music was a Broadway show that ran for 1,444 performances, from 1959 to 1963, winning five Tony Awards.

The live version, with music and lyrics by Richard Rodgers and Oscar Hammerstein II and book by Howard Lindsay and Russel Crouse, seems destined to perpetually live under the shadow of a subsequently popular movie musical starring Julie Andrews and Christopher Plummer. It’s hard not to make comparisons as the film, which won five Oscars, is so beloved and memorable. While there are some differences between the live version and the film adaptation, the story and message remain the same. 

Directed by Kevin Hart, Springfield Theatre Centre’s production of The Sound of Music is an enjoyable mix of sincere, subtle performances, strong vocals and – believe it or not – great comic timing. There’s a fair amount of witty dialog and funny moments in the play that could have been easily overplayed for the sake of a laugh. Not here, though. The actors, young and older, did a fine job of letting the audience simply enjoy a moment or the delivery. Supported by a talented orchestra, also led by Kevin Hart, the musical numbers entertained, including favorites “My Favorite Things,” “Do-Re-Mi,” “Sixteen Going on Seventeen,” title number “The Sound of Music,” and the uplifting, “Climb Ev’ry Mountain.”

The cast impressed with their characterizations and what felt like a real sense of connection within the ensemble. Lauren Williams as Maria shines with a subtle, confident stage presence and lovely singing voice. Her humble Maria was entirely believable as the selfless caregiver, devoted to her faith, yet struggling to understand and accept her feelings for the Captain. Dan Wright as Captain Von Trapp brought a commanding presence as a grieving man who eventually softens, embracing his children and his love for Maria. The Von Trapp family children (Julia Rolens as Leisl, Vincent Powell as Fredrich, Elena Dean as Louisa, Liam Bennett as Kurt, Magdalena Osterhuber as Brigitta, Brinley Lobb as Marta, Cosette Kent as Gretl) were all wonderful, capably embodying their characters as siblings: singing, dancing and giggling together.  

Also worth mentioning are Greg Peterson as Max and Abby Buoy as Elsa. They each dove into their roles without completely turning them into caricatures. And I would be remiss if I didn’t mention Michelle Ford Knott as Mother Abbess, easily one of my favorite characters in this show, singing one of my favorite songs, and she did not disappoint. The audience clearly shared in my enthusiasm for her warm and grounded portrayal and moving rendition of “Climb Ev’ry Mountain.”

I was a little confounded by some production details. There were several scenes with characters dressed in black often set against a black background which made for strange viewing. Also, costumes in some scenes seemed to run the gamut from the 1940s to the 1990s, while at other times they were perfectly stylish, well-crafted and appropriate to the time period or scene. Then at one point, a very modern wireless microphone was brought onstage. I must confess to scratching my head at that one. Nevertheless, by the end, the cheering, standing audience showed its just appreciation.

The Sound of Music continues May 16-18, Friday and Saturday curtain at 7:30 p.m., Sunday at 2 p.m. at the Hoogland Center for the Arts LRS Theatre. Tickets are available at HCFTA.org or at the door.