Review: SOUND OF MUSIC Sings Familiar Notes at the Hippodrome

This might be the shortest review you ever read, because here it is in a nutshell: If you like THE SOUND OF MUSIC, do go see it at the Hippodrome. You won't be disappointed. If you don't like THE SOUND OF MUSIC, (hard to imagine, but some folks don't), there's no reason to think that this production will change your mind.

Nitty gritty facts and details to follow.

Rodgers and Hammerstein's THE SOUND OF MUSIC is a longtime favorite with a plot so well-known (and predictable) that I wouldn't bother to describe it, even if I were in the habit of doing so, which I'm not. It's a happy romp of romantic musical which includes the requisite emotional crisis and serious, non-trivial villains. For those who know the show, there are a few minor surprises, mostly organizational, but they work quite well.

The cast is strong, vocally gifted, physically enthusiastic and speedy. (This is important later.) I'm not always a fan of child actors, but these kids are fun and endearing. The youngsters new to the stage blend well with more experienced ones, and one-Svea Johnson- is a Maryland native. I particularly enjoyed the dancing talent Paige Silvester brought to her role as Liesl. Other notable performances include the soaring vocals of Ashley Brown as Mother Abbess, the comic timing of Carey Rebecca Brown, who plays Sister Berthe, (as well as some fun bit parts), and Merwin Foard's dry delivery of Max's witty lines. Frau Schraeder, whom I always felt was shortchanged in the movie, is more developed onstage, and is featured in a couple of songs, which, given Teri Hansen's lovely soprano, is a treat.

The sound quality is, in fact, a major contributor to audience enjoyment of the show, as when vocals are distorted, echoey, garbled, quiet or unintelligible, a guest will spend time wondering "what did he say?" and lose out on the next line, whether that next one is clear or not. The sound quality of this production is excellent. I never for a moment wondered who was saying what, other than the singing of the nuns in Latin, which I don't speak or understand.

Costume designer Jane Greenwood does an effective and thorough job with the costumes, which are many, varied and include one rather astounding onstage change. The high-tech set choreography makes for rapid transitions and requires attention and exertion from each cast member, from whom director Jack O'Brien coaxes active, engaging performances, realistic to the point of them turning backs to the audience from time to time. Set designer Douglas Schmidt provides breathtaking backdrops, Impressionistic and misty, which Natasha Katz lights perfectly, conveying not only the impression of time of day, but of weather as well, even outside the impressive thunderstorm.

Aside from the show being an inaccurate representation of Austria (also an inaccurate version of the Von Trapp family, which is as much the original Maria's doing as it is Hollywood's), its obviousness and sappy idealism give haters legitimate reason for their distaste. The songs, however, are brilliantly catchy and resound in the hearts, minds and vocal chords of many an American, musical and otherwise. If you love it, you love it. This staged production of a beloved show is worth seeing- very simply, this national equity tour of THE SOUND OF MUSIC is good theatre.

Tickets still available for Sunday, December 13th at 1pm and 6:30 pm

France Merrick Performing Arts Center, 12 North Eutaw Street, Baltimore, MD 21201

Phone: (410) 837-7400

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