How do you solve a problem like a 1959 American musical with a flawed book, the iconic film of which is seared into the hearts and minds of American theatergoers?
Unleash the imagination of three-time Tony Award winning director, Jack O’Brien, and stand back as he brings surprising freshness to The Sound of Music.
Thom and I were both hopeful and wary as we took our seats opening night at the Ahmanson. In 1965, screenwriter Ernest Lehman fixed some of the flaws in the screenplay adaptation, drawing a much sharper antagonist in Frau Schraeder, creating a stronger conflict, replacing a couple of songs that served the actors more than the story, and giving us the unforgettable, “I Have Confidence.” We hoped some of those changes would be adopted for this new national tour, which is originating at the Ahmanson (yay, Los Angeles), on its way around the country, and presumably to Broadway. For all of the beauty O’Brien brings to this new production, the problems with the book remain. But no matter – from the first angelic notes of the nuns singing in the Abbey, to the aching sweetness of Captain Von Trapp singing, “Edelweiss”, The Sound of Music delights.
Without exception, the cast is a revelation of talent starting with The Mother Abbess (Ashley Brown). With passion, empathy, and deep love, Brown leaves no doubt that the Mother understands Maria and carries a sweet burden of hope for her young charge. The world would do well to see such a picture of open-handed love and devotion in the context of faith. Unlike in the film, “My Favorite Things” is set not in Maria’s room with the children, but in the Abbey, for a playful duet between Maria and The Mother. Brown’s treatment of Climb Every Mountain is note and letter perfect.
Imagine a second-year undergrad student finding her young twenty-something self, cast in an iconic role forever associated with the great Julie Andrews. Such is Kerstin Anderson. Anderson is closer in actual age to the character of Maria than either Mary Martin on Broadway in 1959, or Andrews in the 1965 film. And her youth pays off; both tomboyish and doe-like, Anderson follows the girl-become-woman arch of Maria with earnest joy. Her sparkling, wide-eyed discovery of Do-Re-Mi tells the audience early on that she is her own Maria. Brava.
Captain Von Trapp must be handsome, charming, beautifully voiced, and just young enough to be a viable love object for young Maria. Bingo, Ben Davis. Throughout the show, it was impossible not to anticipate each beloved song of Rodgers and Hammerstein’s masterpiece, particularly one so dear as “Edelweiss.” Davis masterfully sits smack in the tension between love and sorrow as he addresses his homeland in its dark hour. In his opening night performance, Davis had all of the positive attributes of the Captain well fleshed out. Now, there is plenty of room for Davis to deepen the cold and stern side of him, making way for a more meaningful turn.
One problem with the book is the lack of a mountain over which the Captain and Maria must climb to find love. Unlike the film, Frau Schraeder is put off by the Captain’s response to the Nazi’s rather than by his connection with Maria. This leaves fewer opportunities for the audience to hiss a little at Schraeder. So, tip of the hat to Teri Hansen who infuses her with complexity, wit, and as much coldness as the text allows, employing smart body language to imply that which the book leaves out. Merwin Foard’s actor pedigree shows well in his jaunty, intelligent Max Detweiler.
O’Brien understands something of eldest daughter, Liesl (Paige Silvester) that was missed in the film. Liesl is on the brink of her spring awakening, and handsome Rolf (Dan Tracy) poses a welcome threat to her innocence. Silvester and Tracy are seamless in their dance, both literal and figurative. The Von Trapp children are a terrific mix of young actors ranging from this being their professional acting debut, (Audrey Bennett, Mackenzie Currie), to those making their national tour debut (Quinn Erickson, Svea Johnson, Erich Schuett), to those with credits under their belt (Maria Knasel).
A strong ensemble led by Brent Schindel, rounds out the cast. Having watched this talented Los Angeles actor plying his craft over the past decade it is great to see Schindel on the Ahmanson stage at the start of what promises to be a successful tour. Great work all around by Christopher Carl, Donna Garner, Darren Matthias, and Julia Osborne.
Written just fourteen years after the end of World War II, The Sound of Music managed to tell two stories, that of a young Postulant seeking meaning within the walls of an Abbey only to find love in the arms of a man, and that of one of the most evil forces in the history of man. It is a testimony to Jack O’Brien that he could reimagine the script fifty-six years hence.
Set designer Douglas W. Schmidt’s mix of flats, projections, and set pieces make for a rich design. The one true misstep of the show is the final moment when the family makes it escape. There is no way that the current staging can avoid a cheesy quality; better to end it one beat sooner and trust the audience to make the journey up the mountain with the Von Trapps in our minds.