THE SOUND OF MUSIC by Richard Rodgers, Oscar Hammerstein, Howard Lindsay and Russel Crouse (Stratford). At the Festival Theatre, Stratford. Runs in rep to November 1. $25-$195, stu from $18. 1-800-567-1600, stratfordfestival.ca. See listing. Rating: NNNN
You’d think an old chestnut like The Sound Of Music – doubtless remounted to coincide with the 50th anniversary of the movie version – would be difficult to revitalize, but director Donna Feore has done just that with this latest Stratford production.
The show, about a young novitiate who leaves the convent to become governess to the seven Von Trapp children, is energetic, has a powerful emotional through line and is surprisingly unsentimental.
While many tend to think of it as a treacly package of set pieces featuring goody two-shoes Maria prancing around with the kids, its music and lyrics are actually varied and often quite sophisticated.
The liturgical works sung by the abbey nuns are exceptionally beautiful – as is Mother Abbess Anita Krause‘s rendition of Climb Ev’ry Mountain – and take up a significant amount of time. And two songs ably performed by the Baroness, Captain von Trapp’s amour (Robin Evan Willis) with Max (Shane Carty), the music agent trying to get the kids onstage, have real political sinew. (These numbers were cut from the movie.)
But Feore’s also got an immensely fresh talent in Stephanie Rothenberg as Maria. It’s Rothenberg who’s most responsible for making sure this show isn’t saccharine. She’s feisty, funny, quick to anger and clearly way more in love with nature than with God. She almost made me forget how disappointed I was when Chilina Kennedy turned down the role to be in Beautiful on Broadway.
My head appreciates Ben Carlson‘s innovative attempt to soften Captain Von Trapp. You really see the man’s sadness from the first time he appears. But my heart misses the martinet in the man, and his transformation winds up being less dramatic than it could be.
Feore does some very smart things – introducing us to Maria as she’s lying in the grass, gazing up at the sky, for example. Her choreography keeps the kids moving in fun ways and I like the decision to let Carty make Max a little bit queer. But having drunken landscapers perform dance numbers in order to make time for costume changes doesn’t work they seem to come out of nowhere.
That’s a small cavil, however, about a great production that keeps everyone in the audience – including a ton of children – spellbound.
susanc@nowtoronto.com | @susangcole
