Review: ROGERS AND HAMMERSTEIN'S THE SOUND OF MUSIC

Performances sold out quickly for Guild Hall’s production of Rogers and Hamerstein’s Sound of Music which ran from July 16th to July 19th. Those who were lucky enough to get tickets left the theatre humming the familiar tunes and wiping a tear or two. Director John Dalton-White assembled a cast of thirty-two and an orchestra of 24 under the direction of Paul Graves that was top notch and up to the task of creating something new out of this classic musical theatre piece. His handling of all of the elements along with his direction provided the impetus for the shows success.

By reversing the normal theatre set-up, a larger set could be created that encompassed the mountains, the abbey, the Von Trapp manse and the concert hall. This allowed the scene changes to flow quickly and helped keep the run time down to two hours. Scenic painters John Suffield and Hadassah Suffield should be remembered for their work on this show. From the mountains to the gardens of the manse, their skill as painters was evident. Randy Harrison built the body of the set that served the show effectively.

Maria was a dream role for Lydia Pirilli. Her Maria embodied all that you would expect, but Pirilli made the role her own. She sang the songs beautifully and embraced the physicality demanded. Kudos on a job well done. As the captain, Chris Loucks had a depth of emotion that one rarely sees in an actor performing the role. Captain Von Trapp was stern and aloof, yet he was presented on many different emotional levels. Loucks’ rich singing voice enveloped the audience as he sang “Edelweiss” and sang along with his children.

Speaking of children! What a delight they were! Lilliana Mullins (Liesl), Samson Kraus (Friedrich), Orly Umbarger (Louise), Max Reif (Kurt), Peyton Flores (Brigitta), Heidi Ehresman (Marta) and Brynlee Baeza (Gretl) delighted their audiences every moment they were on stage. Each should be commended for their characterizations, diction and singing. They each sparkled and were “on” at all times. Mullins and Hunter Clark’s (Rolf) duet on “Sixteen Going on Seventeen” celebrated the wonders of youth and the longing to be older. Their characters were multidimensional and developed as the play progressed.

One can not present this musical without the prerequisite chorus of nuns. Led by the MJ Harper as the Mother Abbess, the eleven women playing the nuns added to the humor, emotion and pathos. Lynette Murphy (Sister Berthe), Meg Scrivner (Sister Sophia), and Mary Tush Green (Sister Margaretta) along with Harper had great fun with “How Do You Solve a Problem Like Maria?” Harper’s “Climb Ev’ry Mountain” soared with her soprano voice. Tillie Ehresman, Dianna Tripoli, Crystal Meek, Jenna Fox, Cassie Reif, Anna Kraus, Emily Redfield, and Cathy Woodward comprised the nun chorus.

Deanne Zogleman created a witty and glamorous Elsa Schrader. Her mastery of the casual aside is a wonder to behold. Ted Woodward’s Max Detweiller was egotistical, funny, and hilariously self-centered. Highlights for them and Loucks were “How Can Love Survive” and “No Way to Stop It.”

Supporting players included Chris Welborn (Franz), Claire Wehry (Frau Schmidt), Rev. Audrey Miskelley (New Postulant), Gene Carr (Baron Elberfeld), Jordan Geer (Herr Zeller) and Jerry Wehry (Admiral Von Schrieber). Each created believable characters with Geer a standout whose Zeller was a man you love to hate. Filling out the Nazi Soldiers were Hagan Simmons, Luke Jones and Daniel Reif.

Numerous talented artisans were busy in the background creating props, costumes, sound/lighting effects, providing stage management and assisting with direction. Terre Winstead served as the stage manager/Sound Board Op with her usual confident professionalism. Randy Harrison (sound design) and Tony Applegate (lighting design) provided artistry that added greatly. Actors were easy to hear and were lit beautifully. Mary Donaldson did legion work creating the nuns costumes and Maria’s postulant dress. Mary Tush Green juggled the many costumes required will her usual skill. Whoever the guy was that created the children’s play clothes and capes wasn’t half bad. Savannah Wolff was the Light Board op with Erin Urick as the Intimacy Coordinator. Louise Brinegar and Gene Carr’s props were varied and, as usual, added authenticity to the production. Arietta Austin served ably as Assistant Director. Mary Lou Phipps-Winfrey was Media Coordinator; Chelsie Penner served as Cast Photographer. Troy Dilport provided Poster Design.

Having a twenty-four pieced orchestra for a Guild Hall show was a real treat. Paul Graves is such an asset to any show he music directs. His expertise is well known in Wichita as he has worked with so many theatres in town. The orchestra included Reese Perman and Molly Graves (flute), Elyssa Astegiano and Bennett Betzen (clarinet), Cindy Thompson (oboe), Merrilee Tuinstra (bassoon), Dr. Valerie Snyder and Robert Ryder (French horn), Gray Bishop and Allen Laramore (trumpet), Randy Crow and Marcus Bishop (Trombone), Logn Anderson (percussion), Jackson Poe (guitar), Daniel Colwerll, Ashlyne McCully, Chelsea Rider and Esther Htoo (violin). Everett Marin and Bryan Beemer (viola), Ruth Busenitz and Molly Paton (cello) with Dennis Danders on bass. The music created by the orchestra was breathtaking.

Next up for the Guild Hall is Kaufman & Hart’s The Man Who Came To Dinner running November 19th to the 22nd. Producer Phil Speary directs with Jeremy Buoy. The rest of the season includes Dicken’s The Life and Adventures Of Nicholas Nickleby, Arthur Miller’s Death of a Salesman, and Jerry Herman’s Dear World.
 

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