Orchestra hits right notes in Sound of Music
Audacious actors and brilliant musicians ...
Cheerful scenes and arising suspicions.
A familiar story for the young and old to cling — these are a few of an audience’s favourite things.
Sir Winston’s production of the legendary screenplay “The Sound of Music” presents the heartwarming story we all know and love. Based on true events documented by Maria von Trapp, the narrative shadows Maria herself, an aspiring nun, who is hired by the arrogant Captain Georg von Trapp as a governess to his seven children. Doing what her heart desires, Maria sings her way through retransforming the over-disciplined Von Trapp family into their old, energetic music-loving selves.
Adapting a prominent musical film into a stage play is no easy task, but the actors took on the challenge and made their theatrical debut in the process. This wouldn’t have been possible without the quintessential live orchestra that provided an organic sound to the play’s redesigned score. A plethora of choreographed musical numbers, for classical and original songs alike, served as the foundation for the film’s onstage adaptation, which rekindles the nostalgia from the screenplay by Robert Wise that first gave life to the indelible story.
Sebastian Walker left a lasting impression on many through his portrayal of Captain Von Trapp, a role that served as the inception to his acting career. Intimidating, authoritative, and visceral, the captain was truly a dominating character who enforced discipline among his family and servants. Max Detweiler, played by Olivia Nazar, served as the lively, animated, and jocular character to offset the captain’s persona. Sarah Fowler’s depiction of the main character Maria created and sustained an energetic atmosphere throughout the numerous musical numbers.
Characters such as the seven von Trapp children cannot go unmentioned. Their substantial role in the delivery of songs was one of the highlights of the play, serving as a development to the character of Captain von Trapp as he regained his erstwhile musician-self. Mother Abbess, played by Francesca Reid, had astonishing soprano capabilities, accompanied by the Latin-chanting ensemble of nuns.
One of the core components of this production was its phenomenal orchestra. Directed by Josie DiMaurizio, the musicians (some of whom only started playing their respective instruments in September of last year) amazed the audience during the spectacular compositions. A live orchestra, as opposed to a prerecorded soundtrack, added a level of authenticity to the songs that brought them to life. Although microphones were an issue with frequent crackling coming from the speakers, the actors professionally maintained their composure and continued on with their performances.
The set was relatively simplistic, with scenes revolving around a central piece of furniture, whether bed, table, or sofa, which effectively aided the actors in the delivery of the narrative. Projections on a white screen behind the actors served as an efficient form of establishing the setting without demanding the tedious effort of moving set pieces around. Often there are stylistic challenges when adapting a film into live theatre, especially with transitions as they affect the flow of the narrative. In this production, however, these changes were smooth: the von Trapp singers seamlessly went from rehearsing within their home to performing in public with a simple change in lighting and the addition of a podium-similar to a fading transition in film.
By shaping a lifeless, insipid, and lacklustre family into an exuberant troupe of singers, Maria indicates that even the most rigid of people can change with a little bit of music.