When thinking of the most famous musicals of the 20th century, no list would be complete without The Sound of Music. Even for those who have never stepped into a theater, there’s a good chance that the Rodgers & Hammerstein music has created an inescapable earworm. The story of a nun named Maria and a musical group known as The Von Trapp Family has produced some of the best feel-good entertainment for audiences around the world. In their production of this beloved classic, Musical Theater West proves that it’s a story worth repeating not only for the cheerfulness amid potential danger, but for the wonderful cast who brings the vibrant imagery to life with a pep in every step that climbs every mountain to a grand sense of awe.
One of the most intriguing things about the musical is how quickly it introduces some of their most recognizable tunes. Within 20 minutes, the singers will have performed the titular song, “Maria,” and “My Favorite Things.” While each are delightful dives, together they paint the greater theme of the show. Even as the world is faced with World War II and Eastern Europe is at risk of Nazi takeover, there is power in music. It’s something that the curious and wandering Maria thinks as she finds umbrage from the nunnery. When they encourage her to babysit for a family led by a militant father, it leads to a humorous look at how to ease tension.
The supporting cast is so prominent in the show that Musical Theater West hired two groups of children to do a continuous run. Even with the potential struggles of swings, there’s something wonderful about spending time with The Von Trapp Family who range in age from under five to 16. There’s a complementary sensibility to them that allows for each relationship to feel lived in. This results in Maria’s outsider status feeling more realistic and allows the emotional bonding to happen with gradual success. When the children are allowed to control the scenes on their own, their discovery becomes an infectious tool that allows for the comedy to move into something more physical and whimsical. This shines best in “So Long Farewell,” which finds them saying goodnight to a dinner party with a dance routine. It’s an impressive feat and balances perfectly with the more adult plot lines, such as Maria attempting to figure out her place in the world.
Credit should be given to Musical Theater West and their amazing cast. Along with Juliana Sloan as Maria, the show features an additional choir that adds a sense of awe to the greater production. Scenes that take place at the nunnery are often complimented by singers courtesy of The Long Beach Chorale & Chamber Orchestra. Compared to the more conventional Broadway style of The Von Trapps, the nuns sing in glorious harmony, often to the audience during set changes, in ways that echo. The diversity is astounding, allowing for a sense of contrast through genre that helps to make the divisions make sense. Maria must choose between the classical choir and contemporary pomp. Which will she choose?
Everything about the show moves at an impressive speed, never dragging and reflecting why this show continues to resonate. On top of mixing dark themes with a chipper tone, there’s a slow sense of reality that enters the frame. As Act II incorporates the pressure of occupation, there’s an awareness of how music can soothe the savage beast. Even then, it comes at great risk and the drama swiftly changes into something more nerve-racking. By the time of the closing scenes, there’s enough tension built that the solitude becomes haunting, allowing for a shift that even in its simplicity is capable of affecting every viewer. It’s an empathetic journey that never lets up, even managing to find small caveats within the potentially devastating narrative.
As expected, Musical Theater West does an excellent job of presenting this story with the grandiosity it deserves. Along with several moving sets that include an impressive two-story staircase, there’s a great shift between Maria’s two worlds. In numbers like “I Have Confidence,” she’s able to transition from the nunnery, through the streets, and to her final destination. Credit must be given to the cast that really makes it all a convincing progression. With everyone working together beautifully, it’s tough to find many faults with a show that continually leaves a smile on the audience’s face and a song humming behind it.
The Sound of Music remains just as enjoyable as ever and it’s not hard to see why. Even if it has been accused of being a bit too sweet, the results speak for themselves. Over half a century of success precedes this production and it’s likely that it will only continue to speak to new generations as they discover it. Everyone, young and old, will find something to appreciate in this story and share with their family. It may not have the most revolutionary hook of any musical ever to hit the stage, but the results speak for themselves. So long as there are things to sing about, there can still be hope in the world. That’s not half bad.
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