Sasquatch Productions has another hit on its hands in Parker Arts presentation of the musical classic
It’s fair to say that most of us have some familiarity with The Sound of Music. You may remember the 1965 film version. And then came innumerable television airings of the film starting in the 1970s and continuing through today. Now, it is often a holiday special that draws the family together for three hours of Julie Andrews, the beautiful music of the legendary duo of Richard Rodgers and Oscar Hammerstein II and all with the magnificent scenery of the Austrian Alps.
Many people are not as familiar with the stage version of The Sound of Music that came before the film and television presentations. Based on Maria von Trapp’s memoir “The Story of the Trapp Family Singers,” it originally opened on Broadway in 1959 starring Mary Martin as Maria. The stage version has now landed in Parker presented by Parker Arts and produced in partnership with Sasquatch Productions.
The stage version of The Sound of Music has many similarities to the film; however, it also has subtle, yet distinct differences including the musical rundown. However, the basic story remains the same: Maria is sent from the abbey where she is a nun-in-training. Her new assignment is as a fill-in nanny in a highly regimented home with a widowed military Captain, Georg von Trapp and his seven precocious and rambunctious children. It is the eve of World War II and much of daily life surrounds the impending arrival of the German army coming to annex Austria. In the interim, young love blossoms and withers, mature love blossoms and withers, until eventually true love wins out and the von Trapps become a gifted musical family with Maria as the matriarch.
In the stage production, along with the traditional musical theatre aspect of the story, the audience is confronted head-on with the horrors of the forthcoming war and Naziism in particular. Although touched upon in the film, seeing it on stage and with both highly charged dialogue and character relationships, we clearly see how the world is literally being torn apart by the war. In a jarring moment late in the second act, two large Nazi flags hug the stage as a stark reminder that evil has prevailed momentarily, and the von Trapp family has no choice but to flee their Austrian homeland for a more neutral Switzerland.
Heading the cast as Maria is Jennasea Pearce. Giving what is a multi-layered performance, Pearce carries the production from beginning to end. We are first introduced to Maria as an almost childlike presence questioning her place in the world. By the end, Maria is a fierce mother lioness out to protect her family at any cost. With a singing voice that fills the auditorium, Pearce is a powerhouse, and her opening rendition of “The Sound of Music” sets the tone for the entire evening.
Also notable is August Stoten as Captain Georg von Trapp. Stoten can be both appealing and at times distant. Initially he is brusque and demanding, clearly trapped by his previous military existence. Eventually his stance softens when he finds the love he is looking for in Maria and in his children. His powerful voice melds beautifully with those around him. The evening concludes with his extremely emotional “Edelweiss” as he escapes the horrors that are fast approaching.
Danielle Hermon as the Mother Abbess is simply remarkable. Hermon has an almost sly and cunning manner while guiding Maria through her question-filled life. Her trained voice reverberates throughout the theatre with such songs as “Climb Ev’ry Mountain” and “My Favorite Things” (along with Maria).
Other strong performances include Gavin Elbert as Rolf, Adam Kinney as Max Detweiler and Lindsey Kinney as Elsa Schraeder. These actors portray wonderfully three-dimensional characters that advance the storyline both intrinsically and musically.
There are two groups of characters that deserve special recognition. Captain von Trapp’s seven children along with the nuns of the abbey both add a certain lightness to this musical drama.
As portrayed by seven talented young people from the community, the children crisscross the stage with energy and enthusiasm. Each child completely embodies his or her character.
The nuns are a joy to behold. Starting with their tongue-in-cheek rendition of “Maria,” and ending with the strident finale of “Climb Ev’ry Mountain,” their contribution to the evening is without match.
Directed by Kelly McAllister, the production flows seamlessly. While focusing on the familiar musical performance, McAllister has also chosen to highlight the darkness that surrounds the action. Without dispute it is an ugly time in modern history, and this production does not sugar coat. This is a brave choice to make for a Broadway musical and one that pays off handsomely. There are several occasions when the dramatic pacing is slightly uneven, and had these moments been tightened, minutes could have been shaved from the over three-hour running time.
Music director Tanner Kelly has taken the iconic music of Rodgers and Hammerstein II and filled it with new life. There isn’t a weak link among the musical performances. The 12-piece orchestra, conducted by Blake Nawa’a, provides the perfect backdrop for the beauty of the evening’s musical components.
Scenery, costumes, and lighting all contribute to a masterful theatrical piece.
Playing through February 4 at the PACE Center, The Sound of Music provides a musically rich and emotionally powerful evening in the theatre.
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