The Sound of Music - musical review

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The hills are alive with The Sound of Music in Leicester this festive season, as the Curve hosts the classic piece, bringing the Austrian landscape to the stage. While its movie counterpart tends to be at the forefront after sweeping the globe and capturing hearts 60 years ago, Rodgers & Hammerstein‘s original vision, marked with Nikolai Foster's acclaimed artistic direction, offers audiences a glimpse into the life of Fraulein Maria, and the beautifully chaotic Von Trapp family before your very eyes.

After the successes of their charming starring here last Christmas, the leading pair take on yet another iconic double act, with Molly Lynch as Maria and David Seadon-Young as Captain von Trapp. Since her attempt at belonging in the nunnery had a mixed response among fellow residents, Maria was sent to look after the enchanting whirlwind of seven children. As their new au pair, her bold personality didn't refrain from shining through the orders of their father, allowing music back into their home; inspiring and deeply engaging every one of them with her tuneful trance. A darker tone encroaches when Captain von Trapp is commanded to report for duty in the German navy, prompting the need to flee the Nazi regime as it floods the facets of their lives.

With setting being a crucial element of the visual enjoyment, the rolling clouds over the mountainside and actual running stream on stage provide this atmosphere, particularly upon Maria's entrance to the soaring title number, The Sound of Music, providing a brief moment of theatrical magic. Perhaps an artistic choice, ribbons of greyness run through where you would expect hills of green, foreshadowing both the current void of happiness and impending troubles that lie ahead. Shifting to become brighter in colour in every sense - costumes as well as staging - as the piece progresses the Von Trapp family is lit up by the unique zest of this new company, even with the piercing presence of the fierce political backdrop looming.

Meeting the seven little spirits with such playful attitude, defying their usual response, Liesl (Aviva Tulley), Friedrich (Leo Hollingsworth), Louisa (Matilda Hennessy), Kurt (Theodore Traat), Brigitta (Isla Granville), Marta (Georgia Riga) and Gretl (Mimi-Kimara Clarson) give an immediately adored impression at the thought of fun with Maria there - a governess unlike any that had come before. This press performance included the amazing Team Hammerstein Community Company members, who are part of a rotating cast due to their age.

Through fear, joy, love, uncertainty and change, Maria's bond of safety, kindness and understanding is a blanket of warmth for these children who are so familiar with turbulence in their familial relationships. After their mother passed away, Captain von Trapp's guard is so high, even his own household can't reach him, suppressing their childhood bubbliness to comply with order. An unexpected yet irresistible desire sparks between Maria and the Captain, softening his heart in a search for the true meaning of their lives. Given how strict his initial demeanour was, it seems quite remarkable that such a strong ingrained personality can be overturned so quickly in a spell, with a change in perspective.

Although this certainly can be embraced by all, for those fans of the film, it remains at its core. With no need to alter such a cultural blueprint, Molly Lynch portrays her version of Maria von Trapp with conviction. Scenes such as the moments of thunder, prompting a family rendition of 'My Favorite Things', replicate those we know and love. The set appeared a little clunky at times, being moved obviously by stagehands (no criticism to them for fulfilling the role though), which lost a little of the fluidity. However, the group choreography by Ebony Molina with the children never fails to bring the piece back to its roots. This does leave the company underutilised at times, but draws focus to the Von Trapp phenomenons.

The Mother Abbess, played by Joanna Riding, must decide the future of Maria as head of the nunnery, being a crucial figure in guiding her to her true calling. Fellow nuns, Sister Margaretta (Kiana Bloomfield), Sister Sophia (Megan Ellis), and Sister Berthe (Leonie Spilsbury) don't get much time in the limelight, but make great use of it when they do. Rachel Izen as Frau Schmidt offers a few amusing bouts upon appearance, while Faye Brookes gives an icy personality as Elsa Schraeder that fits well with the plot.

There are few soundtracks as timeless as The Sound of Music. 'Do-Re-Mi', 'Lonely Goatherd' and 'So Long, Farewell' can never fail to provide an upbeat notion of joy, especially when watching the wonderful children performing them. 'Edelweiss' and 'Climb Ev’ry Mountain' give the slower, sombre tones to provide the contrast that comes with the darker act 2.

Overall, the Curve has produced yet another Christmas classic to please audiences this winter. The comforting ambience of a traditional piece, without the feeling of stagnation, leaves all embracing the nostalgia and singing its score on the way out.