Review: THE SOUND OF MUSIC at Fox Cities Performing Arts Center

The current North American touring production of The Sound of Music is a new staging and interpretation directed by Tony Award-winning director Jack O’Brien, with choreography by Danny Mefford. It launched in September 2025, and follows Maria, a young postulant at an Austrian abbey who is sent to serve as governess to the seven children of Captain Georg von Trapp. Her arrival disrupts the rigid household, bringing music and warmth back into the family. But as Maria and the Captain fall in love, Austria faces the growing threat of Nazi Germany, forcing the family to make a difficult choice about their future.

The production is built around one of the most recognizable scores in musical theatre, featuring "The Sound of Music," "My Favorite Things," "Do-Re-Mi," "Edelweiss," and "Climb Ev'ry Mountain." The production is based on the memoir The Story of the Trapp Family Singers, written by Maria Augusta von Trapp and published in 1949.

This particular production gets off to a notably strong start with the nuns of Nonnberg Abbey. Their opening harmonies are beautifully grounded, with a realistic, almost conversational quality that feels true to the setting. There is no unnecessary oversinging or attempt to turn the opening into a vocal showcase. Instead, the sound is warm, disciplined, and authentic. It establishes the world of the musical with a quiet confidence, which is essential to the story.

Authenticity is an important asset for a show that audiences know so well. No one captures this better than Lisa Howard as Mother Abbess.  Her remarkable sense of grace brings a refreshing elegance to every moment onstage. Her voice soars with a definitive richness and power that never feels forced, filling the room with a sound that is both moving and effortless. Howard carries an unmistakable authority, balanced by a warmth and gentleness that makes her presence feel deeply human. There is a quiet confidence in her portrayal, a sense that she understands not only the character but the heart of the story itself. Her performance is a beautiful reminder that true vocal power is most compelling when paired with sincerity.

Sisters Berthe (Blaire Eilene Baker), Sophia (Meredith Lustig), and Margaretta (Charlotte Jenkins) are wonderful additions to the Abbey, each bringing a distinct personality and a welcome sense of character to the ensemble. Their performances add a lived-in quality to the convent, making the community of nuns feel less like a collection of voices and more like a genuine sisterhood. There is a subtle humor in their interactions, balanced by the discipline and reverence of the Abbey. They may not occupy the spotlight, but their presence makes the setting feel all the more complete.

The von Trapp children are without question a talented group, each bringing their own personality and charm to this lively family. Vocally, this group of budding performers could rival the Vienna Boys Choir. Brigitta, played by Stormie Piper Treviño, in particular, stands out for how naturally she embraces every part of her character. Her curiosity, intelligence, and quiet wit come through without ever feeling out of place. She also provides a nice balance to the energy of her siblings, helping ground the family dynamic while allowing each of the children to shine in their own way. Together, the young performers created a lovable family unit, full of energy, levity, and the kind of natural chemistry that makes their scenes so enjoyable.

Maria, taken on by Sydney K. Borchers, is an iconic role that comes with no shortage of expectations. This portrayal never seems interested in chasing comparisons or trying to recreate someone else's interpretation. Instead, she brings her own flair to the character, sparked by youthful energy.. Backed by an incredible vocal capability, she embraces the character's spirited nature. It was a portrayal that stands comfortably on its own.

The scenic, sound, and lighting designs work well together to create an inviting and immersive world for the production. The scenery offers a lovely sense of place, moving naturally between the simplicity of the Abbey and the warmth of the von Trapp home without distracting from the story. The sound design is particularly effective, allowing the vocals and orchestration to feel balanced and full while preserving the intimacy of quieter moments. Lighting adds another layer of beauty, helping establish the mood and atmosphere of each scene while giving some of the musical's most familiar moments a renewed sense of wonder. None of the design elements felt as though they were competing for attention. Instead, they complemented one another, serving the storytelling and allowing the performers to remain at the center of the experience.

The Sound of Music depends on the power of restraint. In a musical so deeply embedded in popular culture, the temptation to go big and play for applause is always present. Unfortunately, the directorial vision occasionally sacrifices the material’s inherent dignity and sincerity in favor of humor. While the comedy has its place, some moments feel overplayed and lack the subtlety this story deserves. The production doesn't always trust the material, or the audience, to let its humor and emotional weight speak for themselves.

While the production offers some beautiful moments, the choreography feels surprisingly restrained. Sequences like the ballroom and “Sixteen Going on Seventeen” seem like natural opportunities to embrace more traditional dance styles and give the staging a greater sense of elegance and movement. The performers are clearly capable, and it feels as though they could be given more opportunity to showcase those skills. A stronger choreographic presence would not only elevate these moments but also help preserve the classic Broadway quality that is so central to the show's identity.

At its heart, The Sound of Music remains a timeless story that needs little reinvention. This production gives the familiar classic a new voice, though one it doesn't necessarily need or ask for. For the Sound of Music purist, there is plenty to appreciate and admire, from the beautiful vocal performances to the moments that honor the spirit of the original. Yet there is also much left to desire. At times, the production seems so intent on putting its own stamp on the material that it somewhat loses sight of the simplicity, dignity, and sincerity that make this musical endure. With this new rendition, there is much to admire, but not everything feels quite as it should.

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