Review: THE SOUND OF MUSIC at The Center For The Arts

There’s no stopping the talent that flows through the Arkansas River Valley, as proven by CenterStage Productions’ moving and masterful rendition of The Sound of Music, running through Sunday, June 29, at The Center for the Arts in Russellville. This beloved musical is more than just a family favorite, it holds a distinguished place in theatre history as the final and most poignant collaboration between Richard Rodgers and Oscar Hammerstein II. Completed shortly before Hammerstein’s passing, The Sound of Music serves as a stirring farewell and a timeless tribute to a legendary songwriting duo that forever transformed the American stage. 

Set in Austria at the onset of the 1938 Anschluss, The Sound of Music follows Maria, who is sent from Nonnberg Abbey to care for the seven children of the widowed Captain von Trapp. Based on a true story, the musical chronicles how Maria wins over the children and their stern father, eventually falling in love with him. When Captain von Trapp is ordered to command a German naval vessel, the family must courageously escape, fleeing to safety in Switzerland. 

Under the dedicated direction of Catherine Martin, with expert musical direction by Ken Futterer and lively, story-driven choreography by Ashley Miller Davis and Cameron Pusch, this production soars with charm and passion. From the very first notes of the overture, it’s clear this cast understood the importance of embracing the true nature of a musical of this caliber. 

Before I continue, I want to talk about how important it is to have a live orchestra if possible. I want to express how excited I was when I heard the orchestra warming up as I entered the theatre. I was thrilled. I knew that the artistry and attentive accompaniment would elevate the entire production. The way the musicians followed the cast, adjusting seamlessly to tempo and dynamics, was outstanding and added a richness and immediacy that amplified the show’s emotional impact exponentially. 

The show opens with the hauntingly beautiful choral singing of the nuns at Nonnberg Abbey, immediately setting a reverent, breathtaking tone. Their harmonies in “Preludium” and “Morning Hymn” are pure and ethereal, echoing through the theater like a sacred invocation. It’s a moment of stillness and awe that draws the audience in, establishing both the spiritual depth and emotional resonance that define this musical. 

Katy Brockinton leads the cast with warmth and radiance as Maria. Her vocals are as bright and pure as the mountaintops she sings about, and she brings a natural charm and effervescent spirit to the role that makes it easy to understand why both the von Trapp children and their father fall in love with her. As Captain Georg von Trapp, Jon Clements gives a strong, dignified performance that evolves into one of vulnerability and tenderness. The audience was moved by his rendition of “Edelweiss.” There may have been a few tears shed.  

The Von Trapp children are absolutely precious, each one delivering a performance full of personality and charm. Whether singing, dancing, or simply reacting to the world around them, their chemistry with one another and with Maria is delightful. CenterStage Productions wisely double cast the children’s roles, giving two sets of young performers the opportunity to shine, which is a testament to the depth of talent in the region and a gift to the audience who get to see such fresh and enthusiastic energy on stage. Numbers like “Do-Re-Mi” and “So Long, Farewell” burst with life thanks to their infectious enthusiasm and youthful sincerity. 

The supporting cast is equally strong. Vanda Moore plays Elsa Schrader with elegance and poise, balancing her ambition with a touch of genuine affection. Even though Franz comes and goes quickly throughout the scenes, Anthony Nuno makes the most of every entrance. His expressive mannerisms and upbeat spirit make Franz more than just a background character. He’s memorable, endearing, and quietly hilarious in his own right. 

But my starry heart eyes go to Chase Pyle as Max Detweiler, who kept the show light and delightfully amusing with his over-the-top antics and larger-than-life characterization. His comedic instincts are razor-sharp, and every moment he’s on stage is packed with personality. Out of all the Max Detweilers I’ve seen in The Sound of Music over the years, he is by far my favorite. Pyle brings a freshness to the role that makes Max feel essential. He is not just a supporting character, but the connective, comic glue of the show. 

As for the nuns, their musical additions and passing interactions are a blessing to the show. As the Mother Abbess, Lexie Ellis commands the stage with grace and vocal power. Her performance of “Climb Ev’ry Mountain” is a soaring, emotional highlight that leaves a lasting impression. 

The Center for the Arts boasts a massive stage, and it was impressive to see how cleverly and effectively the production utilized this expansive space. The staging and blocking made full use of the breadth and depth of the theater, creating dynamic scenes that never felt empty or overwhelming. Every moment on stage was thoughtfully choreographed to maintain energy and focus, drawing the audience into the world of the von Trapps and their journey. 

With its polished performances, commitment to storytelling, and a team of creatives clearly devoted to excellence, The Sound of Music is a shining example of what community theatre can achieve. CenterStage Productions has created something truly magical, and you don’t want to miss your chance to be swept up in this timeless classic. As I was leaving the theatre, I overheard one woman say this was the best $20 she’s spent in a long time, a sentiment that perfectly captures the joy and value this production brings to its audience. For more information, visit their Facebook page at https://www.facebook.com/CenterStagePro.