The Sound of Music kicked off its national tour a few days ago at the Ahmanson Theatre and what a launching it was. The iconic music is still playing in my head and fears that the production would not live up to the stage or film productions were quickly abated.
Beginning with “Preludium,” sung by the nuns of The Nonnberg Abbey and a bit later “Maria,” a song full of complaints about the young novice, one could relax knowing this production was in the brilliant, most creative hands of director Jack O’Brian.
The Mother Abbess, played by an amazing Ashley Brown, filled the house with her glorious, soaring voice as she led the nuns in heavenly four-part harmony. She also brought the house down with her goose-bump rendition of “Climb Ev’ry Mountain,” which is reprised in Act I.
These amazing singing nuns are Sister Berthe, Mistress of Novices (Carey Rebecca Brown), Sister Margaretta, Mistress of Postulants (Julia Osborne), and Sister Sophia (Elizabeth Evans). They all have complaints about Maria’s behavior, which accounts for The Mother Abbess’ decision later on in the story.
Somewhat relieved, I still worried about the part of Maria Rainer. After all, who is tall enough to walk in Julie Andrew’s shoes? Then we met the new Maria, a most talented Kerstin Anderson, who sang the title song on a mountainside near the Abbey, followed by “My Favorite Things,” which she sings for the nuns. May I assure you, with no disrespect to the iconic Julie Andrews, that after her opening numbers, I sat back and thought to myself, all is well. Anderson’s voice is as clear as a bell, hitting those high notes crisply, with grace, confidence, and clarity. Anderson was a student at New York’s Pace University Musical Theatre program where she was discovered and cast in this production. So, once again, in the magic of show business miracles, we truly have an overnight success. Anderson can be confident that she has embarked on a wonderful career.
For the one or two people who might not know the story line, Maria is a postulant in training to become a nun. She is in the novitiate period where she is supposed to learn the rules. However, she insists on singing, which is a violation. The Mother Abbess, in her infinite wisdom, decides to farm Maria her out as a governess to give her time to determine her commitment to becoming a nun. Thus Maria becomes the governess for Captain Georg von Trapp’s seven adorable children, who he treats as though they were in the military. They are all dressed in the same “uniform,” and obediently fall into line when they hear the whistle he uses to fetch them. Do try erasing the most talented Christopher Plummer’s Captain from your mind, as Ben Davis has a superb voice and gives his own more malleable version of the character. With gentle, but strong prodding from Maria, before long, he changes his militaristic ways and once again music fills the von Trapp home, which had been absent since he lost his wife. There is one very haunting dance number between Maria and the Captain that is very beautiful and sensual revealing the strong, embarrassing attraction they have for each other.
Now what would a love story be without a triangle and in this one, it’s Frau Elsa Schraeder, well played by Teri Hansen. She’s rather haughty and her reasons for wanting to marry von Trapp are not romantic. She is also willing to cooperate with the Nazis as is the Captain’s good friend and promoter Max Detweiler, played a bit over the top by Merwin Foard. Max is putting on a festival for the Nazis and encourages von Trapp to allow his talented children to perform.
When Maria finds out that he is to marry Elsa, she abruptly returns to the Abbey and wants to take her final vows. Again, The Mother Abbess convinces her to return to the von Trapp home where the children, who have systemically conspired to rid themselves of all the other prior governesses, are very sad without her sparkling, loving presence. They react joyously and a wedding does eventually takes take place – but not with Frau Elsa. With light shining through the stain glass windows of the exquisite interior of the church, nuptials are exchanged between Captain von Trapp and Maria. However, their happiness is soon overshadowed by the impending German invasion of Austria.
Although the entire cast is top notch, the story really comes alive when the children are center stage. They are an incredibly talented group of young actors, each with beautiful, “legit” voices. Maria leads them in a rousing version “Do-Re-Mi” and “So Long, Farewell,” which is the song they use to escape from the Germans later on during the festival. Giant red flags with the dreaded Swastika drape the back wall as the children perform their song. The family sings “Edelweiss” at this same performance, which might bring a little lump in your throat.
Liesl is the oldest and is played by Paige Silvester. She is in love with Rolf Gruber played by Dan Tracy and they sing the delightful “Sixteen Going on Seventeen.” Unfortunately Rolf falls under the Nazi “spell,” but enough humanity remains in him so that he doesn’t betray the family during their escape. As for the member of this special family, Audrey Bennett, who is making her professional debut, plays the tiny, adorable Gretl. She is a living doll and scene-stealer just by virtue of how cute she is. Members of her “family” take turns holding her as though she was a precious porcelain doll, which she really does resemble. The other musical siblings are Friedrich (Erich Schuett), Louisa (Maria Knasel), Kurt (Quinn Erickson), Brigitta (Svea Johnson), and Marta (Mackenzie Currie). Looking after the family needs are Franz, the devoted butler (Darren Matthias), and Frau Schmidt, the efficient housekeeper (Donna Garner).
To quote that familiar phrase, “It takes a village,” in this case, the village is the astounding technical team, beginning with the amazing set design by Douglas W. Schmidt. The split-second multiple breathtaking set changes were seamlessly choreographed, gliding from the colorful hilltop where Maria sings the “The Sound of Music,” to the lavish, splendidly decorated interior of the von Trapp estate, to the outdoor patio, to the Abbey, to Marie’s cozy room. Natasha Katz’s enhancing lighting design was a constant changing rainbow of dazzling colors, which were woven into Jane Greenwood’s gorgeous costumes. Danny Mefford designed the sometimes softly sensual choreography, with the music supervised by Andy Einhorn. This creative production team is clearly a “dream team” whose work will be a pleasure to experience over and over again.
Jack O’Brian’s retelling of The Sound of Music is fresh and quite fascinating without losing any of the heart and soul of the original book by Howard Lindsay and Russell Crouse and Music by Richard Rodgers and Lyrics by Oscar Hammerstein II. It will always remain one of the finest musicals in American Musical Theatre history. This is one theatrical experience you owe to yourself to not miss.
Ahmanson Theatre
135 N. Grand Avenue
Los Angeles, CA 90012
Run:
Tuesdays–Fridays: 8 pm
Saturdays & Sundays: 1 pm & 6:30 pm
Tickets: $25-$150
Reservations: 213.972.4400 or www.CenterTheatreGroup.org
Closing: Oct. 31,2015
