Theater review: Good Company Players’ ‘Sound of Music’ presents the familiar musical with a few new shades
By Heather Parish
There is a shiny black and red ribbon of cynicism running through the tapestry of wholesome family values in “The Sound of Music,” which may surprise those who remember only the 1965 film. The Good Company Players’ enjoyable production of the 1959 stage version highlights some of the darker shades in the script without compromising the story’s charm.
A balance between light and dark
To achieve this, director Emily Pessano put together a formidable cast who could hit notes of humor, earnestness, and sly wit at the right moments — and without added fuss. As novitiate Maria, Haleigh Cook has a voice like a high-flying skylark, but her portrayal of Maria’s sincerity and enthusiasm is completely down-to-earth. Terry Lewis as Captain von Trapp embraces both the ram-rod rigidity and the ridiculousness of a grown man calling his children with a boatswain’s whistle. As a pair, they bring both light and dark to balance the story.
“Music” is a good training ground for young actors in musical theatre. As such, the von Trapp children are double-cast in this production to give as many young performers as possible the opportunity to grow. I saw the Edelweiss cast on opening night, and they each gave charming performances. Kailyn Sanders has a spark during Liesl’s “Sixteen, Going on Seventeen” number, but the group of von Trapp children work together as an ensemble unit so well, that it is difficult to pick standouts.
Dropped into this melange of familial decency are Captain von Trapp’s wry friend Max Detweiler (portrayed by Gordon Moore in the Edelweiss cast, Shawn Williams in the Favorite Things cast), and Baroness Elsa Schrader (Amalie Larsen), the love interest of Captain von Trapp. Notably, she is also the owner of a German-affiliated corporation. The two bring a sharp and glamorous wit to the von Trapp terrace, providing the political context of 1938 Austria facing a Nazi party takeover. Their two numbers offer a snappy-yet-pragmatic view of life in complicated times, extolling the joys of safety and wealth (“How Can Love Survive?”) while encouraging Captain von Trapp to “compromise. . . be noncommittal” (“No Way to Stop It”).
The long shadow of history
In terms of staging, this production keeps things very simple. Some painted mountains along the sides, the von Trapp terrace for the main action, and the judicious use of curtains keep the audience focused on the performances and exceptional vocals (coached by Laurie Bridges), such as those of Tracy Jones’ Mother Abbess. The simplicity of the staging also helps revivify a very familiar story. Without the accustomed spectacle of “THE. SOUND. OF. MUSIC!” we can discover it anew.
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In fact, the use of a simple black curtain and gobo lighting in scenes requiring a more austere or, dare I say, threatening tone effectively highlights the political tensions of Austria right before the Anschluss. The question of whether to capitulate to an authoritarian regime caused great polarization and is considered a dark chapter in the history of Austria. The stage version of “Music” refers to this several times to lay the groundwork for von Trapp’s need to escape Salzburg.
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We don’t tend to think of “The Sound of Music” as having political undertones because the movie version cuts a lot of it. But with the black backdrop evoking a dark, unknown future, one cannot help but consider some possible parallels to our own country’s divisions, even amidst “The Sound of Music’s” family-von-Trappings.
Providing some of life’s bitterness adds layers of nuance to this confection of a show.
“The Sound of Music” continues at Roger Rocka’s Dinner Theater through September 15.
Alice J Pierson-Knapp
Thank you!
Bee
Designer credits?