The Sound of Music (Review)

For those who’ve never experienced anything but the revered film adaptation of The Sound of Music, Music Circus’ season opening rendition of Rodger’s and Hammerstein’s classic is a must-see, specifically because the show moves less like the film and more like a witty and fun romp. This show is by far the most fun version I’ve seen—way more laughter comes from the crowd than you’d ever hear during the film.
I had the benefit of seeing Sacramento Music Circus’ production of The Sound of Music in 1992, featuring Paige O’Hara, the voice of Belle in Disney’s Beauty and the Beast and although that production blew me away with the vocal talents of the actors, I didn’t nearly enjoy it as much as this year’s opening show.
    In fact, the only fault I perceived in this production was the less-than-pitch-perfect vocals of Paige Silvester, playing the role of Liesl, the oldest daughter of Captain Von Trapp. Silvester fell flat on several occasions during Liesl’s signature song with Rolf (Tristan Rumery), “Sixteen Going on Seventeen.”
    The problems, however, were minor and overshadowed greatly by the intensely beautiful vocals and amazing range of Meg Bussert as the Mother Abbess. Bussert has starred on Broadway in revivals of Brigadoon, earning her a Tony nomination and The Music Man, earning her a Theatre World Award, opposite Dick Van Dyke.
    The list of her achievements in theatre goes on and on. When Bussert sings, you almost can’t breathe. Her characterization of the Mother Abbess also brought an amazing rhythm between herself and Cristin Mortenson, our Maria. Together, they played off each other, earning laughter from the crowd and bringing levity to the show that isn’t really seen in the film or that I’ve seen in other stage productions of The Sound of Music.
    For example, in one scene, (without spoiling it for future attendees, we see the Mother Abbess look strongly at Maria for an action that she cannot control doing herself seconds later, caught up in the bliss and child-like joy of Maria’s singing. The interaction between the Mother Abbess and Maria is reason alone to take in the show.
    Cristin Mortenson not only “plays well” opposite Bussert but brings a real sweetness to the role of Maria. Other actors of interest include Dick Decareau as Max Detweiler. Decareau perfectly embodies the near-free-loading (and free-spirited) musical festival promoter and best-friend of Captain von Trapp. George Dvorsky (Captain von Trapp) starts out stilted but quickly evolves into a warm and kind version of the captain, seldom seen on stage. And Camy Rae Wilson’s Gretl is just adorable, especially during the von Trapp children’s performance of “So Long, Farewell,” in Act One.
    Perhaps the thing that sets this production apart from both the film and other stagings is the fluid though austere set and its direction coupled with the stage direction. The viewer becomes transcended into the action, regardless of the limited set necessary for a show of this magnitude on such a small stage. When the show opens, for instance, a simple Byzantine cross and arches rim the area as the nuns sing “Morning Hymn.” Clandestinely and seamlessly the props leave the stage under darkness for simple branches, bringing Maria to her mountainside.
Director Scott Eckern clearly desired a show with more levity and less heaviness than other productions, seen in the near-asides where the actors inflection almost takes on an irreverent, yet tremendously funny tone. The play is as much comedy as drama and music.
    For those unfamiliar with this classic Broadway show, The Sound of Music is based upon the life of the von Trapp family. Captain von Trapp of Austria has lost his wife years before and his seven children send governesses fleeing one after the other. Meanwhile, Maria Ranier doesn’t seem to fit into the Abbey, so is sent temporarily as the governess for the children by the Mother Abbess as a way of determining whether Maria is ready to actually devote her life to religion and Christ. Austria is divided politically because of Nazi Germany, and Captain von Trapp, a staunch Austrian who refuses to bow to Hitler’s regime, ends up falling in love and marrying Maria and fleeing with his family and forming an immensely popular concert singing group during the 1930s and 1940s.
   Ironically, before Rodgers and Hammerstein wrote the score to their last collaborative Broadway production, Paramount pictures was attempting to turn the family’s book, Die Trapp-Familie, into a film. Ultimately, the decision was made that the story was better suited for the stage—and theatre goers have never looked back. The show is a fitting beginning, therefore, to this season’s opening.
    The sweet sounds of music returned to the tent Saturday, July 5, at the Wells Fargo Pavilion, with an extended 12-performance run. The Sound of Music will close on Sunday, July 13.    Performances are Tuesday through Saturday at 8 p.m., Sunday at 7:30 p.m. and Thursday and Saturday at 2 p.m. Tickets for all Music Circus shows are $53 for Friday and Saturday evenings, $50 for Tuesday, Wednesday, Thursday, and Sunday evenings and Saturday matinees, and $41 for Thursday matinees.
    Discounted tickets are available for children 4 to 11 ($15 off), sponsored by Raley’s and Bell Air. Children under the age of 4 will not be admitted to the show. Tickets are currently on sale at the Wells Fargo Pavilion at 1419 H Street, Sacramento, or by phone at (916) 557-1999. Tickets are also available online at www.SacramentoMusicCircus.com or by calling (800) 225-2277. For groups of 12 or more call (916) 557-1198.


	Camy Rae Wilson as Gretl and Cristin Mortenson as Maria in the 2008 Music Circus production of The Sound of Music at the Wells Fargo Pavilion July 5-13. Photo by Charr Crail.