America West Airlines Valley Broadway Series' The Sound of Music at ASU Gammage Auditorium
(out of 
)Mark S.P. Turvin
(home office) (602) 912-0117
I can be reached for comment via e-mail at: mspt@goldfishpublishers.com
Reviewed 3/14/00
(out of )A fluid overhead shot of Julie Andrews in dress and apron, spinning around on a gorgeous green mountaintop, and singing about the hills; this is the image everyone has of Rodgers & Hammerstein's The Sound of Music. Uplifting, heartwarming, and sugary enough to cause diabetes. Well, that was a 1965 movie based on a 1959 musical. In this fiscally cautious era of revisiting the classics, but finding different takes to justify the remount, Director Susan H. Schulman has added a little sour to the sweet. Suddenly, this forty year old musical isn't only raindrops on roses and whiskers on kittens, making it just dark enough to become one of my favorite things. Yes, it's still uplifting and heartwarming, but with an edge perfect for this generation. Who knew that a show that is crammed full of sentiment could survive and flourish in a much more jaded time?
Most of the songs are classics that everyone can sing along with: "Do-Re-Mi," "Sixteen Going On Seventeen," and "Climb Every Mountain." But Ms. Schulman has added a little bit of a push when it comes to the fact that this is a family in conflict not only with a new governess, but some nasty Nazis. As a result, when the Iron Cross infiltrates the scene and begins hanging over the mountains of Austria, sentimental shares the stage with dramatic, a welcome element. Even those who know the production by rote will find good reason for a return visit to the von Trapp family once more.
The trip is not only made great just by Ms. Schulman's slightly sinister take and her oddly-but-necessarily presentational staging. Compliments go to the great choreography of Michael Lichtefeld, the imaginatively inventive scenery of Heidi Ettinger, the perfect costumes of Catherine Zuber, the dim, moody lighting of Paul Gallo, and especially the wonderful performances of most every cast member.
It would take a lot to step into Maria's shoes after Ms. Andrews, but the spunky, youthful Meg Tolin has instead brought her own to the role. There is no Mary Poppins-like coldness in her Maria, but a lively young woman not much older than her charges who is genuinely open and giving. Ms. Tolin has a beautiful voice, great dance skills, and an effervescence that skates the line of cartoony without ever becoming ingratiating. Balancing her is the surprising Richard Chamberlin, whose solid vocal skills and great acting range make him an impressive Captain von Trapp. The real stars of the evening, though, are the seven talented performers who play the children von Trapp. From Kate Reinders' perky Leisl to Madeleine Martin's achingly cute Gretl, this is a group of professional actors that can be loveable, precocious, and subtle when needed. When they're working with Ms. Tolin on their famed songs, even an old curmudgeon like me can't help but grin.
The ensemble is mostly up to the level of the leads. Jeanne Lehman's Mother Abbess has a voice that would make the Pope proud. Rachel De Benedet plays Maria's rival, Elsa, with the kind of elegance and grit that makes her character coldly admirable. The only minor disappointment of the evening comes from Drew Eshelman as insidious hanger-on Max, who just isn't smarmily charming enough to make his final selfless act as impressive as it should be.
The snowglobe theme that Director and Designers have added to the show is a very imaginative one, and works on so many different levels, it makes me want to smack my head in an "Of course" move. The only times that the darkness fails this production is when things literally become too dark to see. Rolf's big moment is lost on those one or two people in the audience who didn't know, and missed it in the near pitch-black of the rectory/sanctuary.
I'll admit I had no idea that this show could be anything less than confectionery. After living with it as a youngster (summer stock with my mom as the Mother Abbess and my dad as Franz, the butler), I though for sure I'd be bored to tears, but I'm happy to say that a breath of new life may be possible for anything. I wonder what will be next: A haunting Annie? A chilling Mame? Maybe a tense Anything Goes? One thing is for sure; even the oldest warhorse can make a wonderful evening of theatre in the right hands.
Production Details:
The Sound of Music Music by
Richard Rodgers, Lyrics by Oscar Hammerstein II,
Book by Howard Lindsay & Russel Crouse
America West Airlines Valley Broadway Series
ASU's Gammage Auditorium, Tempe
(480) 965-3434
March 14th - 19th, 2000