‘The Sound of Music’ – Music by Richard Rodgers. Lyrics by Oscar Hammerstein II. Book by Howard Lindsay and Russel Crouse. Directed by Kevin P. Hill. Music Direction by Milton Granger. Choreography by Briana Fallon. Scenic Design by Kyle Dixon. Costume Design by Kelly Baker. Lighting Design by Jose Santiago. Sound Design by Alex Berg. Wig & Hair Design by Rachel Padula-Shufelt. At North Shore Music Theatre, Beverly, MA through July 23, 2023.
By Linda Chin
Let’s start at the very beginning. When crystal chandeliers in a circular formation descend from up high, Maestro Granger lifts his baton, the orchestra and nuns of Nonnberg Abbey open Act 1 with the hauntingly beautiful “Praeludium,” and the theatre comes alive with glorious sounds of music, all seems right with the world. But those familiar with The Sound of Music or European history (or who like me, learn about people and cultures from theater as well as textbooks) know that in 1938, in Nazi-occupied Austria at the cusp of World War 2, all is not harmonious.
Within the cloud of political upheaval there are everyday problems on the home fronts. At the abbey, the “problem” is new postulate Maria Ranier (a heavenly Desi Oakley), who is free-spirited, fiercely stubborn, and often loses track of time singing in the hills (without asking for approval beforehand). At the Von Trapp Family villa, widowed Navy Captain Georg (portrayed with all the right notes by Joseph Spieldenner) is seeking yet another governess for his seven children – who range in age from five to sixteen (going on seventeen). Wise and understanding, Mother Abbess (a magnificent Janinah Burnett) decides to place Maria in the Von Trapp home for several months so she can reflect on her readiness to commit to life in the convent.
Maria’s arrival at the Von Trapp’s elegantly appointed home wearing a shabby outfit shows off writers Lindsay and Crouse’s witty dialogue:
Captain Von Trapp: It’s the dress. You’ll have to put on another one before you meet the children.
Maria: But I don’t have another one. When we entered the abbey, our worldly clothes were given to the poor.
Captain Von Trapp (pointing to the shabby outfit she has on): What about this one?
Maria (sheepish, shrugging): The poor didn’t want this one.
In challenging the Captain’s militaristic methods of summoning the children (each with a distinctive whistle call), she shows us her independent streak. Full of empathy and exuberance, and with her prized guitar in tow, she gets to know the children as individuals and teaches them songs that they sing together to their great delight. Unbeknownst to Maria, the Captain had banned music (a painful reminder of his late wife), but his children’s enthusiasm softens his icy demeanor, and joy and happiness are restored to the household.
Under Kevin P. Hill’s expert direction and with the audience so close to the stage (and no place to hide) the cast’s facial expressions and consistently strong acting skills are on full display throughout. Watching the precocious Brigitta (eleven year-old Penelope Rhoads, her twin Lola Rhoads at alternate performances) so eloquently pointing out to Maria (Broadway’s Desi Oakley) that her dress was shabby, and in a later scene, that she and her father were obviously in love with each other, was priceless.
Briana Fallon’s debut as choreographer of a mainstage production is spectacular. It is evident that as an assistant to director Kevin Hill, she shares his artistic vision. As a performer in many NSMT productions herself, she knows every inch of the stage area and its geometries (with the inner platform that opens and closes), and sight lines between the audience and the circular stage. Fallon clearly works well with dancers with a range of training/experience, including children – no small feat. Additionally, of the seven Von Trapp children, six (besides Liesl are double cast) requiring extra rehearsal attention. Watching members of the company leap effortlessly – and land perfectly – onto the flat tops of the columns at the stage’s circumference was impressive. The iconic musical number “Sixteen Going on Seventeen.” is performed to perfection by Tori Heinlein (Liesl) and Travis Anderson (Rolf).
The talented cast of 37 performs favorite song upon favorite song including “My Favorite Things,” “(How Do You Solve a Problem Like) Maria,” “Do-Re-Mi,”” Sound of Music,” “The Lonely Goatherd,” “Climb Ev’ry Mountain,” “Edelweiss,” “So Long, Farewell,” North Shore Music Theatre’s production of The Sound of Music is a crowd-pleaser. It also reminds us that the joy and connection to other people and cultures that music (and live musical theater experiences) brings is vital to having a rich life. At Beverly’s North Shore Music Theater, one of the few remaining “theaters in the round” in the United States, The Sound of Music makes the world go round. For tickets and information, go to: https://www.nsmt.org/soundofmusic.html
