(reviewed at the Theatre Royal, Norwich on 18 October)
It must be the most popular musical of the 20th century. The Sound of Music is currently singing its way on a national tour in an intelligent new production by Martin Connor designed by Gary McCann and with musical direction by Kelvin Towse. The mountain-painted drop-curtain and flats are framed (literally) by a false proscenium with baroque flourishes, suggesting a traditional world into which the harsh realities of the late 1930s intrude uncomfortably.
It looks good and there are some excellent singing voices, notably among the nuns and most especially Jan Hartley’s Abbess. The sound balance took some time to adjust itself on the Norwich opening night, particularly affecting Lucy O’Bryne’s well-acted and thoroughly credeible Maria and Howard Samuels’s pragmatic Max. Lucy van Gasse makes Elsa nto something more than a two-dimensional potential wicked stepmother and Annie Holland’s Lisl is sweet of voice, forceful of personality and a lyrical dancer as well.
Andrew Lancel is very much an actor who can sing; because he doesn’t initially play von Trapp for instant sympathy, the character’s obvious political integrity then acts as a burnish to his dawning feelings about Maria. Bill Deamer’s choreography has its highspots in the first act duet for Kane Verrall’s embryonic Nazi Rolf and 16-going-on-17 Lisl and in the ballroom scene ländler.
The six smaller von Trapp children (Isabel Godden’s Gretl and Louis Rice’s Friedrich particularly good at the performance I saw) are as show-stopping as they should be. In many ways, this is an old-fashioned staging with a conviction in the performances and an attention to the requirements of the score missing from many more modern musicals. It asks to be taken seriously and the audience responds to that request. Which is just as it should be.
The Sound of Music runs at the Theatre Royal, Norwich until 22 October with matinées on 20 and 22 October.