Grand Canal Theatre
Although Rodgers and Hammerstein's The Sound of Musicdebuted on the Broadway stage, it can be difficult for live productions to shake the visual tattoo of Robert Wise's 1965 film; competing against its residual cultural memory of the panoramic Austrian landscape and Julie Andrews' effervescent Englishness is a challenge. Rather than starting from an original palette, however, director Jeremy Sams, in this visiting West End production, takes so many visual cues from Wise's film that it risks being merely a pale imitation. Arlene Phillips' choreography, Robert Jones's set and costume, Sams' direction of the major characters, all pay tribute to the film version. Verity Rushworth's Maria has a Julie Andrews' crop, Martin Callaghan's Max Detweiler wears the inevitable moustache, and so on.
And yet the stage musical differs significantly from the film in structure. Where the epic landscape shots and Andrew's irrepressible optimism ensured the film was remembered for nostalgic sentimentality rather than the shadow of the second World War that encroaches as the Von Trapp saga draws to a close, the political context is a constant presence in the stage musical. It maintains a more insistent focus on adult reality than childhood fantasy, in numbers like How Can Love Survive?, An Ordinary Couple, and No Way to Stop It, which were not included in the film. (They are not particularly good songs.)
Despite the look-alike costume and make-up, Verity Rushworth gives a memorable performance on her own merit. While her Andrews-accent slips occasionally in dialogue, she delivers an excellent vocal and emotional performance as the naive, warm-hearted Maria. Jason Donovan's Captain Von Trapp struggles with vocal strength and range, but fortunately he has few solos and the young cast playing the Von Trapp children lends ample support. However, it is the operatic ensemble of nuns that provides some of the musical highlights of the evening; in particular, Marilyn Hill Smith's rendition of Climb Every Mountain.
Both versions of The Sound of Musicshare a troubled political ending, as the Von Trapp's are forced into exile. In the film, the visual iconography provides the audience with optimistic release, but in the stage production, the resolute denial of an encore reprise ensures that we remember the Von Trapp's uncertain future. However, the audience didn't seem too worried; they were happy to celebrate what they wanted to see rather than what was there.
Until April 30th
