Review: THE SOUND OF MUSIC at Rialto Community Theatre in Morrilton

As someone who proudly claims the Rialto as my home theatre, there is always something special about walking through those doors. Community theatre has a unique magic because the performers are your neighbors, your friends, your teachers, and sometimes even your family members. That familiarity only made this production of Rodgers and Hammerstein's The Sound of Music more meaningful. From the opening moments, it was clear that this cast and crew poured their hearts into every scene, every note, and every costume detail.

Running June 5-14, this beloved classic came to life under the direction of Trent Reese and his team: Assistant Director Canon Ashford, Music Director Mary Ruth Kitchen, Choreographer Kayli Gentry, Stage Manager Brenda Irmer, Assistant Stage Manager Samarah Gulledge, and Intimacy Director Shiloh Seward. Based on the real-life story of the von Trapp Family Singers, the musical follows Maria, a free-spirited young woman who leaves the abbey to become governess to the seven children of Captain von Trapp. Through music, kindness, and unwavering optimism, she transforms the household and ultimately helps the family navigate the growing threat of Nazi occupation in Austria.

Before Maria ever twirls atop a mountain, the nuns of Nonnberg Abbey set the tone for the entire production, and what an opening they provide. Their rich harmonies immediately draw the audience into the world of the show, creating some of the most beautiful choral moments of the evening. Leading them is Wendy Shirar as Mother Abbess, and as always, she is a commanding presence onstage. Shirar has a remarkable ability to radiate authority and grace in any role she takes on, and Mother Abbess is no exception. Whether offering gentle guidance to Maria or delivering the show's emotional centerpiece, "Climb Ev'ry Mountain," she captivates the audience with both her powerful vocals and deep sincerity. Shirar is one of those performers whose mere presence elevates a production, and her portrayal of Mother Abbess serves as the steady, compassionate anchor that guides both Maria and the audience through the story.

Following orders from the Reverand Mother, the other sisters added even more depth to an already strong production. Kimberly Hilliard brought plenty of personality to Sister Berthe, delivering the nun's often humorous skepticism with perfect timing. Alongside her, Lexi Ashford as Sister Margaretta and Elizabeth Gomez as Sister Sophia completed the trio beautifully, providing humor and gorgeous harmonies that made the abbey scenes especially memorable. Rounding out the nuns were  Madeline Baggett, Elizabeth Fisher, and Salina Sosa, who filled the theatre with reverent music and caring support.

Leading the cast as Maria, Auburn Buchanan-Freeman takes on her very first leading role, and what a wonderful debut it is. Carrying a musical as beloved and recognizable as The Sound of Music is a daunting task, but Buchanan-Freeman embraces the challenge with confidence and heart. She radiates warmth from the moment she steps onstage, perfectly capturing Maria's playful spirit and unwavering optimism. Her singing is beautiful throughout the evening, particularly in the title song and "My Favorite Things," but it is her sincerity that truly shines. 

Opposite Buchanan-Freeman is Jesse Kitchens as Captain von Trapp, making his musical theatre debut. If you did not know this was his first musical, you would never guess it. Kitchens commands the stage with confidence, perfectly portraying the stern naval captain whose household has become governed by whistles instead of laughter. His greatest strength lies in showing the gradual softening of the Captain's heart. His rendition of "Edelweiss" was one of the evening's most touching moments, demonstrating a natural ability to connect with both the material and the audience.

Now, I don't know that I would necessarily label Max Detweiler and Elsa Schraeder as villains, but if there is a case to be made, my favorite underrated song in the show, "No Way to Stop It," certainly makes the argument. Daniel Vasquez brings plenty of charisma to Max, making him far more charming than one might expect from someone willing to compromise his principles for personal gain. Vasquez walks the fine line between comic relief and opportunist beautifully, creating a character who is frustratingly likable. Lucy Strahin is equally strong as Elsa Schraeder, portraying her with sophistication and a delightful sense of playfulness that makes the character far more than simply Maria's romantic rival. In fact, Strahin earns my starry-heart eyes for her charismatic portrayal of Elsa. Whenever she steps into the spotlight, she commands the audience's attention with effortless confidence and charm, stealing every scene in which she appears. 

The Rialto was blessed to attract the talented young performers who brought the von Trapp children to life. Jade Coldiron led the group as Liesl, capturing all the excitement, uncertainty, and emotion of a teenager caught between childhood and adulthood. Lila Weaver was wonderfully earnest as Friedrich, while Alice Weaver brought a mischievous spark to Louisa. Danni Logan charmed as Kurt, Olivia Kitchens gave Brigitta just the right amount of intelligence and wit, Gabby Hendee was absolutely adorable as Marta, and Elowyn Bruce melted hearts as the youngest von Trapp, Gretl. Together, they were simply precious. Whether marching under the Captain's strict rules, delighting audiences during "Do-Re-Mi," or delivering the crowd-pleasing "So Long, Farewell," they filled the stage with energy and personality. Watching them grow from regimented children standing at attention to a loving family united through music was one of the production's greatest pleasures, and they earned some of the biggest smiles of the evening from the audience.

One of the sweetest storylines in the show belongs to Liesl and Rolf, brought to life beautifully by Jade Coldiron and Danajah Penn. Their chemistry is fun to watch from the moment they step onstage together, making "Sixteen Going on Seventeen" one of the most charming numbers of the evening. Coldiron captures Liesl's youthful excitement and growing independence, while Penn initially presents Rolf as the earnest young suitor completely smitten with her. That is what makes his transformation later in the show so effective. Rather than portraying Rolf as merely conflicted, Penn's interpretation takes a darker turn that genuinely caught me by surprise. The sweet young man audiences meet at the beginning gradually gives way to someone far more intimidating, and by the final scenes, his allegiance to the Nazi regime feels genuinely unsettling. In fact, all of the Nazis in this production were surprisingly scary. Their presence created a real sense of tension and danger that heightened the stakes of the story. John J. Pistone's Herr Zeller was especially chilling. Pistone carried himself with an air of authority that immediately put the audience on edge whenever he appeared. His stern demeanor and unwavering confidence made Herr Zeller a formidable antagonist, embodying the threat that slowly closes in around the von Trapp family. Together, these performances served as an important reminder that while The Sound of Music is filled with beloved songs and heartwarming family moments, it is also set against a very real and frightening chapter of world history.

The rest of the men added more depth to hills of Europe. Oscar Gomez made a strong impression as Admiral von Schreiber, representing the growing political pressure facing Austria with dignity and authority. Joe Rehm was equally effective as Franz, the von Trapp family's loyal butler. Rehm's subtle performance spoke volumes, particularly as Franz found himself navigating the increasingly dangerous political landscape. Dylan Bruce and Bill Holt helped bring the world of Austria to life, seamlessly transitioning from everyday townspeople to the dreaded Nazis whose presence casts an ever-darkening shadow over the story. Their versatility helped underscore the dramatic shift from the warmth and charm of the von Trapp family's world to the fear and uncertainty brought on by the Nazi occupation.

Trent Reese's direction kept the story moving smoothly while allowing audiences to connect with the emotional core of the piece. Mary Ruth Kitchen's musical direction deserves tremendous praise, leading the cast through a  score that is one of the most recognizable in musical theatre history.Kayli Gentry's choreography brought energy,  highlighting the cast's personalities and helped build the playful spirit that makes the show so beloved.

The technical team also deserves recognition for creating the world of the show. Brenda Irmer and Samarah Gulledge kept the production running seamlessly behind the scenes, no small feat for a show with numerous scene changes with a large cast. Costumes beautifully reflected the period while helping define each character, and the scenic elements provided just enough atmosphere to let the audience's imagination complete the picture. I especially loved the backdrop painted by Director Trent Reese.

I would also like to give a shoutout to the intimacy director, Shiloh Seward. As theatre continues to evolve, productions that prioritize performer comfort and safety create stronger storytelling. The romantic moments between characters felt respectful while maintaining the emotional impact required for the story.

The Rialto Community Arts Center has long been a cornerstone of the Morrilton arts community, and productions like this demonstrate why. The volunteers, performers, and creative team continue to prove that great theatre does not require a Broadway budget—only passion, dedication, and a commitment to storytelling. As my home theatre, the Rialto continues to be a place where my heart yearns to be, and I am thrilled it was filled with The Sound of Music. For more information on upcoming shows and events, visit their website at rialtomorrilton.com.