What is it about the sixty-year-old SOUND OF MUSIC that still attracts audiences, especially during the Christmas season? There’s nothing about the musical that makes it specifically seasonal.
Nonnberg Abbey’s Mother Abbess (Christiane Noll) sends young postulant nun Maria Ranier (Cayleigh Capaldi) to be governess to Captain Von Trapp’s (Kevin Earley) seven children. What follows is a touching story of genuine and respectful love growing as the children begin to accept Capaldi’s Maria. Even Earley’s dour Von Trapp learns to love again after the death of his first wife.
It dawned on me right at the end of the first act why the musical still attracts an audience—thanks to Noll’s powerful ‘Climb Every Mountain’ that she sings to an uncertain Maria, and why she must return to the von Trapp villa. There’s something comforting about The Sound of Music’s strongly conservative messages, which reflect a ray of hope in our tumultuous world today. These messages include a fortunate trust in God, genuine love between a man and a woman, and the family’s strength to overcome mountainous obstacles as the Von Trapps escape their beloved Austria during the rise of the Third Reich.
This solid touring company, now on stage at the Princess of Wales until January 4, 2026, offers encouragement that life can, does, and will go on as long as we keep these three messages above all in our hearts.
Directed with a comforting touch by Jack O’Brien, the production’s nearly three-hour running time flows naturally. Some beautifully staged moments create a charming picture – most notably Maria and Von Trapp’s wedding in Act 2. Douglas W. Schmidt’s remarkable visual set designs and projections of the Von Trapp villa, its winding staircase stage right, and stunning projections of the mountains become truly extraordinary to see. Natasha Katz’s exquisite, focused lighting design transports the audience to pre-World War II Austria. Jane Greenwood’s costumes authentically reflect the late 1930s era. Captain Von Trapp’s naval uniform catches the eye. The Von Trapp children’s uniforms, when we first see them, are uniformly clean and crisp.
I must praise Kai Harada’s excellent sound design. There is a perfect balance between the orchestra and the performers. I could hear every word sung and spoken with such clarity that it brought a smile to my face, hearing these classic lyrics from long ago.
Credit to Music Director Jonathan Marro and Music Supervisor Andy Einhorn for the stunning orchestration renditions of these well-known songs. They hit the roof of the Princess of Wales Theatre and echo throughout the auditorium with reverence and passion. Danny Mefford’s choreography effectively underscores the emotional intensity of the moment – notably in the Laendler dance between Maria and von Trapp, as their growing attraction unfolds. Mefford makes an excellent choice to bring in the ensemble right after Earley’s von Trapp locks eyes with Capaldi’s Maria. It’s a truly lovely moment, but it makes sense for von Trapp to include the other party-goers to conceal his true feelings.
The cast is strong.
Ariana Ferch, El Vander Griend, Ava Davis, Benjamin Stasiek, Haddie Mac, Ruby Caramore, and an adorable Luciana Vandette play the von Trapp children with youthful ardour. Their ‘So Long, Farewell’ during the Act One party scene is truly delightful for its vocal work and staging. Kate Loprest is perfectly catty as the snobby Elsa Schrader. Nicholas Rodriguez’s Max Detweiler is comically evasive when he goes behind Georg’s and Maria’s backs while they are on their honeymoon to enter the children in the festival contest. Jennifer Malenke is sometimes witfully sassy as housekeeper Frau Schmidt. John Adkison’s butler, Franz, is quite good at hiding who he truly is regarding his political beliefs until the second act, when it is clear he is not a nice man at all. The cat and mouse chase between eldest daughter Liesl (Arianna Ferch) and telegram boy Rolf (Ian Coursey) in ‘Sixteen Going on Seventeen’ captures realistically the intense passion of youthful first love.
What makes this touring production worth seeing is Kevin Earley and Cayleigh Capaldi’s heartfelt work as von Trapp and Maria.
They listen carefully and respond both naturally and believably during intense moments. One particular scene involves Maria and the children returning from an afternoon when it’s clear they are wearing play clothes made from the drapes in Maria’s bedroom. Von Trapp refuses to listen to Maria’s pleas to open himself to their children. It is the way she utters, “I’m not finished yet,” that truly makes one believe Maria is not finished at all in showing her frustration.
This ‘Sound of Music’ becomes reassuring and comforting value for family entertainment in a confusing and volatile world right now. It can still bring a smile to the face.
Please see it.
Running time: approximately two hours and 40 minutes with one intermission.
The production runs until January 4, 2026, at the Princess of Wales Theatre. For tickets: mirvish.com or call 1-800-461-3333.
CONCORD THEATRICALS and NETWORK PRESENTATIONS present
The Sound of Music
Music by Richard Rodgers and Lyrics by Oscar Hammerstein II
Book by Howard Lindsay and Russel Crouse
Suggested by The Trapp Family Singers by Maria Augusta Trapp
Directed by Jack O’Brien
Music Supervision and Additional Orchestrations: Andy Einhorn
Music Director: Jonathan Marro
Choreographer: Danny Mefford
Scenic Design: Douglas W. Schmidt
Costume Design: Jane Greenwood
Lighting Design: Natasha Katz
Sound Design: Kai Harada
Performers: Cayleigh Capaldi, Kevin Earley, Nicholas Rodriguez, Kate Loprest, Ariana Ferch, Ian Coursey, Christiane Noll, John Adkison, Corey Greenan, Daniel Robert Sullivan, and other members listed in the programme.
