Review: THE SOUND OF MUSIC is Delighting Mirvish Audiences of all ages

The Broadway National Tour of the beloved Rodgers & Hammerstein musical, The Sound of Music has arrived in Toronto this holiday season and it is the perfect excursion for the entire family.

For anyone who is somehow unacquainted with this musical, The Sound of Music is loosely based on a true story about a would-be nun who becomes a governess for the secen children of an Austrian naval captain. She brings music back into the family’s life and a love story unfolds. All of this is happening under the backdrop of the rise of Nazi Germany. Much of this show is funny and heartwarming, but the reality of the state of the world at the time is ever present – even more so than in the film version. Many of the themes in this show feel disturbingly relevant to the times we are living in today.

Leading a supremely talented cast of performers is Cayleigh Capaldi as Maria Rainer. She is radiant and instantly root-able, with strong, gorgeous vocals. Her scene work with both her adult and child co-stars is equally as strong. She has made this role her own.

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Although the stage musical (book by Howard Lindsay and Russel Crouse) premiered on Broadway in 1959, audience members are most familiar with the 1965 film starring Julie Andrews. This was evidenced early in the performance this writer attended, by the surprised murmur that overtook the crowd when Maria started singing "My Favourite Things" with Mother Abess (an exceptional Christiane Noll) before she even left the Abbey (in the movie, she sings it with the Von Trapp children during a thunderstorm).

One of the biggest challenges any stage production of The Sound of Music faces is finding a way to help its audience release the movie from their minds and embrace the journey happening in front of them. This production, playing at Mirvish’s Princess of Wales Theatre, not only does this incredibly well, it does it very quickly. The playful duet of "My Favourite Things" may in fact be the exact moment this production truly crystallizes as its own entity, separate from the beloved film. Capaldi and Noll play well off of each other and sound great while doing it.

In any other production of The Sound of Music I have seen, a key feature of Maria that differentiates her from the Mother Abbess and the other nuns, is her spunk and curiosity. What I love about this production is that although Maria has that spunk in abundance, so do the other nuns, especially the Mother Abbess. This choice serves two purposes very quickly. It shows us why Maria is endearing to the others and how she perhaps has rubbed off on them, and it also highlights the fact that this is not the only reason Maria doesn’t quite fit in at the Abbey. She has an up until now unrealized longing for something more – a longing that is noticed by the wise Mother Abbess before even Maria herself.

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The stage production offers much more time to the dynamic between Captain Von Trapp (Kevin Earley), his paramour Elsa Schraeder (Kate Loprest), and Max Detweiler (Nicholas Rodriguez). A series of scenes and songs explore the bigger things happening in the world around our story. Their song "No Way to Stop It" feels eerily timely – with the upbeat and catchy nature of its melody feeling almost unsettling.

Earley and Capaldi build the Captain and Maria's love story beautifully. The chemistry is palpable and despite limited time dedicated to this storyline, it is completely earned. I also noted and appreciated a lyric change Maria's verse in the "Sixteen going on Seventeen Reprise" where instead of singing "you belong to him", she now sings "you belong with him."

A lot of thought and care from director Jack O’Brien and the entire cast have been put into the storytelling in this piece. One such example is a moment near the end of the show when the family is performing an encore at the music festival. The situation is tense, the family’s future uncertain, but of course, not every child in the family would be privy to this. The emotions displayed by each of the Von Trapp children, match the level of understanding of the situation that a child of each of those ages would likely possess. The attention to detail in the direction and performances here, elevates the scene.

Speaking of the Von Trapp children, this production features Ariana Ferch as Liesl, Eli Vander Griend as Freidrich, Ava Davis as Louisa, Benjamin Stasiek as Kurt, Haddie Mac as Brigitta, Ruby Caramore as Marta, and Luciana VanDette as Gretl. Every single one of these performers is a delight. One of this writer’s favourite moments in the show, is when Maria teaches the children to sing with the iconic "Do-Re-Mi" number. Capaldi has great chemistry with each of these young actors and the choreography by Danny Mefford is inventive and fun. I loved the choice for Maria to teach the children using Solfège hand signs, and the directorial choice that throughout the number, some of the children continue to use them and some do not. This taps into the understanding that people learn things differently. To see Maria recognizing this and trying to help each child learn in their own way, is such a great way to highlight her strengths as a governess and mother figure.  

The stunning Scenic Design by Douglas W. Schmidt and effective Lighting Design by Natasha Katz allow for smooth transitions between scenes. Music Director Jonathan Marro and an Orchestra made up of both touring and local musicians expertly and beautifully play the music that is near and dear to so many of our hearts.

From start to finish, The Sound of Music offers a wonderful experience at the Theatre for audiences of all ages. It highlights themes of love and hope but does not shy aware from the darkness in the world. The Princess of Wales Theatre is very much alive with The Sound of Music.

THE SOUND OF MUSIC is currently running at Mirvish’s Princess of Wales Theatre until January 4, 2026.