Two years ago when members of The Sound of Music movie version reunited on the Oprah Winfrey Show for a 45th anniversary reunion, Christopher Plummer, who played the role of Captain von Trapp, admitted to dubbing the musical ‘The Sound of Mucus.’
Since its release in 1965, Plummer has repeatedly shown disdain for the pop culture phenomenon, even to the point of refusing to discuss it during interviews.
However, packed houses at the Citadel Theatre’s The Sound of Music, playing until May 27, certainly disagree with his assessment. Their standing ovations are an affirmation the musical is worthy of all the acclaim it has received over more than four decades.
Directed by artistic director Bob Baker, it has all the natural ingredients of a great adventure: a plot inspired by one of Europe’s most turbulent periods in history, a May-December romance, children desperate to reconnect with their father, and memorable Rodgers and Hammerstein numbers that are a staple of almost every choral group in the country.
To most patrons the story is familiar: Maria, a postulant at Nonnberg Abbey with a great love of life, is plucked from her convent in the Austrian Alps to be a governess to the widowed Captain von Trapp’s seven children.
After the death of his wife, von Trapp has distanced himself from his children and is unenthusiastically romancing Baroness Elsa Schrader. In the background the monolithic Nazi machine has come to power and citizens are forced to decide whether to join forces or flee from the invasion.
Wimple-clad nuns start off the production chanting a solemn Preludium at their ancient abbey, followed by Maria delivering the soaring title song on a poppy-dotted mountainside meadow.
JosĂ©e Boudreau is the perfect custodian of Maria’s beloved role. Sweet, but not too saccharine, she initially warms hearts with her air of radiant vigour and humble wholesomeness. As Boudreau grows into the role, she displays a serene, self-confidence that finds just the right touch. And as an actress she has the ability to make dialogue as appealing as her songs.
Just as Boudreau wins the children’s hearts, they grab ours. It’s hard to resist the beaming, uniformly dressed von Trapp children, a septet hungry for love and attention.
A strong bond develops between Maria and the children, primarily from the postulant’s compassion for them. It is highlighted in unforgettable tunes such as Do-Re-Me and The Lonely Goatherd, a delightful display of the pitch-perfect children’s voices.
Susan Gilmour as the Baroness Schrader is the epitome of ’40s wealth and sophistication – highly varnished and just as brittle. And as the comic impresario, Kristian Truelson is the embodiment of hustle and histrionics.
Perhaps the most disappointing performance was that of RĂ©jean Cournoyer, who failed to deliver the charming spark underneath von Trapp’s ramrod exterior that inspired several women and children to love him.
Also disappointing is that Baker’s production barely confronts the oncoming Nazi occupation. The spidery swastikas are everywhere, but the Nazi terrors never really register and the family’s escape ultimately feels artificial.
Special kudos to Leslie Frankish’s stunning sets – a magical transformation from a medieval monastery to a snow-capped mountain meadow to a stately mansion.
And Don Horsbburgh’s orchestra glides seamlessly from one engaging number to the next creating a smooth and delightfully layered tempo that allows enough room for the voices to be heard.
The Sound of Music may be corny, but it’s also a will-o’-the wisp, a moonbeam, a wave upon the sand that everyone wants to catch.
Review
The Sound of Music<br />Runs until Sunday, May 27<br />Citadel Theatre
