These days, in all probability, the Mozarts can no longer claim to be Salzburg’s most famous family and it is all down to this glorious final collaboration of composer Richard Rodgers and lyricist Oscar Hammerstein.
The pair took its now-familiar storyline from the 1949 autobiographical The Story Of The Trapp Family Singers by Maria von Trapp, and fashioned from it a 1959 Tony Award-winning Broadway musical, after which its Robert Wise-directed 1965 film adaptation, starring Julie Andrews and Christopher Plummer, brought it to a world-wide audience.
As Mozart had done for 18th- century Opera, Rodgers and Hammerstein’s revolution – think of Carousel and South Pacific – was to elevate the entire purpose of the 20th-century musical from an often whimsical, farcical showcase for a star performer into arresting drama about the hopes and loves of everyday people, resilient and resourceful in the face of forces beyond their control.
Further, they showed that it could be done through the medium of memorable tunes and lyrics: Do-Re-Mi, My Favourite Things, Edelweiss, Climb Ev’ry Mountain and the title song The Sound Of Music.
Set in Austria at the cusp of the Third Reich’s takeover in 1938, Maria, wavering as to her calling to be a nun, takes on the role of governess to Captain von Trapp’s seven children. Inevitably, she falls in love both with them and their father and together, avoiding their entrapment by the Nazi regime, they plan to escape to neutral Switzerland.
As with all the Company’s musical productions, Opera North spares nothing in its staging. Michael Taylor’s set brings us the Alpine paths and tributary waterfalls for exterior locations, with monastic and landhaus windows and a spiral staircase for the interiors.
Given the familiarity we have with the film version, no latter-day Maria can ignore the ever-hopeful and earnest portrayal by Julie Andrews, and here Katie Bird embraces it wholesale. There is a touching self-doubt and sincere confusion deciding the fitting life for herself, the religious or the worldly.
She strikes an instant musical rapport in the ensemble numbers with the children and there is a convincing warmth and radiance as her love for Captain von Trapp dawns across the narrative.
Vocally, she is first-class, clear diction without mannerisms, always to be heard above the orchestra.
Edward Bennett‘s natural domain is on stage with the Royal Shakespeare Company or in television’s
Bridgerton and SAS: Rogue Heroes. He has no pretensions to be a singer. He avoids long notes because they are not the means by which he is to express himself. In an acting masterclass, the granite naval edifice that he had built at the outset softens and crumbles by fine gradation until he takes Maria in his arms … and we are genuinely happy for him. In his tender delivery, Edelweiss truly carries the hopes and defiance of the nation he serves within its gentle bloom.
The top vocal accolade of the night must go to Katherine Broderick‘s Mother Superior. There is a pragmatism to her piety, a playfulness to her purpose. She imparts such musicality to her prose, such as the grace notes on the word “born” when telling Maria, “You were born to love”, that you know whatever comes next will be musically memorable. She gives us a magnificent Climb Ev’ry Mountain.
The children are adorable, Amy Freston‘s Baroness Schraeder and Nicholas Butterfield‘s Uncle Max give able and generous support to the narrative and, in a gratifying twist from the film’s plot, even Kamil Bien‘s Rolf Gruber makes good in the end.
The ladies of Opera North chorus harmonise beautifully and conductor Oliver Rundell has the orchestra in fine form, marvellously neat and fresh in the quick numbers, light and elegant in the slower ones. His pacing throughout is poised and apt for the enunciation by the singers.
The enduring appeal of this musical is its ability to make audiences smile, and this production will. There is something irresistible about watching an awkward, gauche novice nun transform a strict and rigid household through laughter, kindness and song.
For Leeds audiences, Opera North’s The Sound of Music offers the perfect summer theatre outing, combining nostalgia with world-class live performance, wholesome family-friendly entertainment, the classic triumph of good over evil, with outstanding musicianship from all involved.
At Leeds Grand Theatre until 01 August.
Sung in English, with no surtitles needed.
Opera North
RODGERS-HAMMERSTEIN: THE SOUND OF MUSIC
7pm performances: Wed 15, Thu 16, Fri 17, Sat 18,
Wed 22, Thu 23, Fri 24, Sat 25,
Wed 29, Thu 30, Fri 31 July
Sat 01 Aug
1.30pm performances: Thu 16, Sat 18,
Thu 23, Sat 25,
Thu 30 July
Sat 01 Aug
Photography by Tristram Kenton.
Main image: Katie Bird as Maria, April Perrott as Liesl von Trapp, Zac Anders as Friedrich von Trapp, Harmony Raine Riley as Louisa von Trapp, Lucas Kerr as Kurt von Trapp, Karis Musongole as Brigitta von Trapp, Fern Rungrojkitiyos as Marta von Trapp, Evelyn Thomas as Gretl von Trapp and Edward Bennett as Captain Georg von Trapp
