Interview: Theatre Life with Christiane Noll

Today’s subject Christiane Noll is currently living her theatre life in a heavenly way to be sure. She is preparing to begin performances for the new touring production of The Sound of Music where she will be playing the role of Mother Abbess. The tour officially begins performances September 9th in the Opera House at Kennedy Center where it will run through October 5th after having it’s soft opening in Utica NY on September 5th and 6th.

For those of us that are musical theatre lovers, Christiane’s voice has brought us so much joy over the years in a variety of shows. Her Broadway credits include Dear Evan Hansen (also on tour), Ragtime (Tony/Drama Desk Nomination), Elf, Chaplin (Drama Desk Nomination), Urinetown, The Mambo Kings, It Ain’t Nothin But The Blues, Jekyll and Hyde (also regional premiere and pre- Broadway tour), Grease, Miss Saigon, and City of Angels.

Other stage credits include Snow Child (Arena Stage), Partnership, God of Carnage, Fun Home, Next to Normal, Follies, 1776 at Encores!, and Closer Than Ever (Off Broadway Alliance Award).

Christiane’s talents are not limited to the stage by any means. You might have seen her on the small screen in episodes of The Equalizer, FBI: Most Wanted, Ruth, Evil, Madame Secretary, Law & Order: SVU, The Good Fight, Law & Order: Organized Crime, The Bite, or as Sister Margaretta in The Sound of Music Live!. Her voice can also be heard in the animated feature version of The King & I as the singing voice of Anna and as Maria in the Salzburg Marionette Theater production of The Sound of Music. Trust me, it’s worth the trip to Austria to see it.

Her solo live and studio recordings include Live at the West Bank Cafe, Gifts at 54 Below, and A Broadway Love Story.

Christiane Noll’s range of talent is awe inspiring. Seeing her onstage in whatever production she is in brings sheer and unadulterated magic. Make it only about the art and grab your tickets to see Christiane Noll and company in the brand new touring production of The Sound of Music at Kennedy Center. “I Have Confidence” it is going to be thoroughly enjoyable and Christiane’s “Climb Every Mountain” is going to be epic.

Christiane Noll is truly living her theatre life to the fullest.

At what age did you have an idea that performing was going to be your chosen profession?

Not until I got to college and started getting hired to perform over the summer breaks did I not bother to think about doing anything else. I had a goal, and I was rather driven from that point on. 

Where did you receive your training?

I got a BFA in voice from Carnegie Mellon. 

What was your first professional job as a performer? 

Well, I was paid when I did The Mikado when I was four years old. But the first job I auditioned for and was paid to do without my parents’ involvement was the world premiere of an opera version of A Christmas Carol written by Gregory Sandow. I was Belinda Cratchit. If memory serves me Sarah Rice, the original Johanna in Sweeney Todd, was Scrooge’s girlfriend.

Can you please talk about how this current tour of The Sound of Music is different from other stagings?

Well first, most notably this truly wonderful cast has never done the show together before. It is rather amusing how many of us have a history with The Sound of Music and have played other parts in the past. One can literally grow up doing this show. With Jack O’Brien’s insightful guidance, we are honoring this beautiful 65-year-old script as it was written and originally intended. Fans of the classic movie will still be treated to all the songs we know and love even if they may be in different places than they remember. The movie made changes to the original show. Don’t be shocked when Mother Abbess sings “My Favorite Things.” You’ll be ok. 

The Sound of Music originally opened on Broadway 66 years ago this November. After all this time, why do you think it still resonates with every audience that comes to see it?

I think the kids are adorable. One comes to see the songs we’ve all known since we were children and then is struck by this family’s love and devotion to each other, their love and faith in music and how it can heal and fortify us all even through some of our darkest times. “My heart will be blessed with the sound of music, and I’ll sing once more.”

In 2000 you performed in The Student Prince at Paper Mill Playhouse which is an operetta over a musical comedy. Have you ever had a desire to perform in grand opera as well?

Actually, I did sing with Plácido Domingo at the National Opera at the Kennedy Center. There was a brief moment when my voice teacher, the late great Shirlee Emmons, wanted me to do opera auditions but then music theater came a calling again. I would sing opera and operetta with her exclusively. She helped me prepare The Student Prince, The New Moon. She insisted that although style, vowels and resonance may be different, good singing is good singing. She supported my endeavor to sing in every way I could. 

You were a part of Jekyll and Hyde from regional beginnings through the run on Broadway. The show went through many changes including changing directors and a new design concept. Which version of the show did you prefer performing in?

 Hmmm. I did the regional co-production that was in Houston and Seattle, then the pre-Broadway tour and finally Broadway. Each was such an important step in its development. Songs came and went and came back again. My favorite costumes were from the pre-Broadway tour we did. I loved my engagement party gown so much. I was like a shimmering pale teal moon. I liked my wig from that production too. Other than that, the specifics of each version have honestly blended a bit in my memories.

What are you most looking forward to about bringing The Sound of Music across the country as Mother Abbess?

I’ve always thought that Mother Abbess was this big imposing figure, an embodiment of the mountain. Well, I’m nobody’s mountain but I’m so grateful to Jack O’Brien and his team for entrusting me with this intimidatingly iconic character and allowing me to find myself in her for audiences all around the country. I hope audiences will catch themselves witnessing this familiar 65-year-old gem with 2025 eyes. Although its events are historic, its themes are timeless. 

Special thanks to Kennedy Center's Deputy Director of Public Relations Amanda Fischer for her assistance in coordinating this interview.