Review: THE SOUND OF MUSIC at Bass Concert Hall

Few titles in the musical theatre canon are as instantly recognizable—or as enduringly beloved—as the SOUND OF MUSIC. Featuring music by Richard Rodgers and lyrics by Oscar Hammerstein II, with a book by Howard Lindsay and Russel Crouse, the musical premiered on Broadway in 1959 and quickly became a cultural touchstone. Inspired by the real-life story of the von Trapp family singers, The Sound of Music blends Rodgers and Hammerstein’s signature warmth with soaring melodies, heartfelt storytelling, and themes of love, courage, and resistance in the face of political upheaval, the show earned five Tony Awards, including Best Musical, and secured its place as a perennial favorite on stages around the world.

The musical’s legacy was further cemented by the 1965 film adaptation, The Sound of Music, starring Julie Andrews, which became a global phenomenon and one of the most successful films of all time. Even now, the film’s enduring popularity continues to fuel the stage musical’s appeal, drawing in new generations of audiences and ensuring THE SOUND OF MUSIC remains a cornerstone of both musical theatre and cinematic history.

It is therefore, the lens by which almost all who attend view the musical. The brain, of course, is designed to compare and contrast. Those who have only been exposed to the film version will be treated to familiar songs in different contexts, and a few new songs they haven’t heard before. They will also be confronted more clearly, if in a brief and PG-13 musical fashion, the true moral and political courage of the Greatest Generation. The Von Trapps true story of conscience and courage turned THE SOUND OF MUSIC into one of musical theatre’s most enduring legends.

Legendary it is. In fact, it is among this reviewer’s short list of “comfort musicals.” And right now, many of us can use the comfort of a heartwarming story about strength in the face of a regime that gave rise to the most consequential war in world history. With Rodgers and Hammerstein, though, this story with a happy ending gets even happier. Sorry if that was a spoiler.

With the SOUND OF MUSIC, we are greeted with what by today’s standards is a robust and large cast backed by lush and gorgeous lighting and set design by Natasha Katz and Douglas W. Schmidt, respectively. Their designs take something deceptively straightforward and give it a lavish depth. On opening night however, two obvious, significant technical difficulties slowed and in once case, stopped the performance for a brief time. In a production of this caliber and budget, more is expected, but it is also true that these things happen from time to time. I’m sure the production will be humming right along going forward.Caleigh Capaldi takes on the quintessential role of Maria in the current U.S. tour. She’s got some big shoes to fill and her portrayal embodies Maria’s ebullience and joy without a trace of presumption or pretense. I enjoyed the refreshing take she gave the character. Kevin Earley is cast here as Maria’s paramour Captain Georg von Trapp. From my seat, Earley's charisma, talent, and presence was evident throughout. Still, the decision by Tony Award®-winning director Jack O’Brien to approach the romance with more humor than I prefer occasionally pulled my focus. In those moments, the core story—a grieved, hardened man surprisingly transformed by a woman twenty-five years his junior—loses some of its emotional weight. Perhaps though, this choice comes from source material that shows Baron von Trapp was a much warmer man than Lindsay and Crouse depicted.

Our other couple, Liesl (Ariana Firch) and Rolf (Ian Coursey), bring excellent talent and beautiful vocals to their roles. I’m not convinced however, that the choice to give Rolf such swagger in his first scene makes Liesl’s attraction believable. Indeed, in 2026, it makes “I Am Sixteen,” a little — how can I say this… creepy? This more strident approach to the character makes Rolf’s choice in Act II less believable.

Still, it’s a charming show, and the cast of children make it more so. I couldn’t get enough of each one of them and I can’t wait to see what will become of these young actors as they progress. Particular standouts for me were Ava Davis as Louisa, whose gorgeous soprano is outstanding, and Haddie Mac, who brings forth impeccable timing, as Brigitta, the unsuspecting protagonist who pushes Maria and von Trapp’s love story forward.

Mother Abbess (Christiane Noll) serves as the bookends for this musical and Noll exemplifies the nurturing and magnanimous nature of a good mother, whether superior or maternal. She’s backed, by the way, by a fabulous choir of sopranos we don’t usually get to enjoy in contemporary musicals.

As I often say, your mileage may vary regarding the experience of any show I review. None of my thoughts should keep you from being swept up in this endearing musical. In the end, THE SOUND OF MUSIC remains exactly the touchstone it has been for decades. It is a story many of us carry with us long before we ever set foot in the theatre, shaped by memory, music, and meaning layered over time. This production may invite comparison, reflection, and even critique, but none of that diminishes its enduring power. Whether you go for nostalgia, for comfort, or simply to hear these beloved songs sung live once again, THE SOUND OF MUSIC still offers a reminder of why it has endured for generations—and why it continues to find its way back onto our stages, and into our hearts.

The Sound of Music 65th anniversary tour runs February 3rd-8th at Austin's Bass Concert Hall as part of the Broadway in Austin series.

THE SOUND OF MUSIC

Directed by Jack O’Brien

Book by Howard Lindsay and Russel Crouse

Music and Lyrics by Richard Rodgers and Oscar Hammerstein II

Feb 3-8

Bass Concert Hall

2350 Robert Dedman Drive

Austin, TX 78712