Venue: Capitol Theatre (Sydney NSW), Dec 13 – Jan 17, 2015
Music: Richard Rodgers
Lyrics: Oscar Hammerstein II
Book: Russel Crouse, Howard Lindsay
Director: Jeremy Sams
Cast: Johanna Allen, Lorraine Bayly, Eleanor Blythman, Du Toit Bredenkamp, Nakita Clarke, Savannah Clarke, Cameron Daddo, Jacqueline Dark, Philip Dodd, Louis Fontaine, Erica Giles, David James, Stefanie Jones, Amy Lehpamer, Dominica Matthews, Jude Padden-Row, Marina Prior, Madison Russo
Images by James Morgan
Theatre review
The Sound Of Music premièred on Broadway in 1959, which makes it a reasonable assumption that most of us had grown up with songs from the iconic musical, figuring prominently in each of our own musical education. Maria brought music to the Von Trapps, and also to lives of millions. Our familiarity with the songs in Rodgers and Hammerstein’s masterpiece is quite unparalleled, and although some of the show’s dialogue has long become archaic, its power over our cultural consciousness is second to none.
This manifestation for an Australian touring production is a straightforward one that presents no surprises. The text is unchanged, and all the trappings of a commercial musical are delivered efficiently. Sets transform with military precision, lighting evolves endlessly to take us through every mood change, and the last note to every song decides whether or not its audience should applaud. Everything is thoroughly refined, and the experience is orchestrated to a measured and mechanical perfection, but a cast in live theatre of course, will always be susceptible to some variation, even in the most immovable of productions like this one.
In the role of Maria is Amy Lehpamer, who delivers an impossibly flawless rendition of one of the most popular musical characters of all time. There is no denying the fact that viewers will gauge any actor taking on the part against the legendary film version, but Lehpamer easily meets our expectations, with deeply impressive technical abilities and a presence so warm that every last punter in the nosebleed section cannot help but be won over. She is glorious from prologue to curtain call, with an effortlessness that only a true star of the stage can portray. Similarly fabulous is Jacqueline Dark, whose Mother Abbess is simultaneously commanding and endearing, memorable for her astoundingly powerful singing in “Climb Ev’ry Mountain”. Cameron Daddo’s vocals are thankfully adequate, and while not a scene-stealing performance, his work as Captain Georg von Trapp is often believable and surprisingly moving, aided by a cast of enchanting youngsters who play his children with irresistible cuteness and brilliant conviction.
The anti-Nazi story in The Sound Of Music provides a gravity that helps set it apart from the often excessively frivolous quality of its genre. It is ironic that the entirety of its very large cast is of Caucasian appearance, but the show’s message is unambiguous. We think about the meaning of freedom, and its primary importance in any life. We think about the magic that comes from great music and great art, and how our humanity cannot be divorced from the wonderful capacity of song that brings hope to the darkest of days. When things are not going well, we can find ourselves caged in by fear, but it is our human ability to imagine something better that gives us resilience and ingenuity. In our weakest moments, the simplest of lyrics will lift us up; “Follow ev’ry rainbow till you find your dream.”
Suzy Goes See 