In a musical, the choreographer's objective is to utilize movement to enhance and reflect the underlying emotion, motivation and progression of the storyline. Keep in mind that this must usually be accomplished within the confines of the director's vision while still permitting the choreographer's artistic interpretation of the scene. Not always an easy task.
While everyone can appreciate Rodgers and Hammerstein's genius in the art of musical story telling, it is the underemphasized staging, blocking and choreography that can make such Golden Age productions anything from magical to downright ordinary. Stagebrush Theater's current joint production of The Sound of Music seems to display fine examples of both.
The things that don't quite work are more recognizable when you first look at what does work. Two scenes stand out from a choreographic standpoint. First and foremost is the dance duet of Maria and the Captain at the party. Choreographer Elizabeth Reynolds definitely did her homework and kept the piece perfectly in line with the style of the period. The routine was well rehearsed and executed and established a critical moment of intimacy between the characters. These moments are what make or break the audience's belief that the characters are falling in love and the choreographer's choices can be key to that outcome.
Another fine example is "The Lonely Goatherd" number. The choreographer's use of space, musicality and ability to work with varied levels of dancers are all a large part of why this number works so well. However, she might keep in mind that it is the choreographer's job to think ahead for what the characters have in store immediately following a rousing dance number. John Haubner was visibly winded as he launched into what has to be the most poignant moment of the show, his solo "Edelweiss". While breath control is the responsibility of the performer, the choreographer can always find a creative way to "dance around" potential trouble spots.
The clearest example of what didn't work is the "Sixteen Going on Seventeen" scene. Most of the choreography was centered around a prop bench. A very shaky and unsecured bench at that. Adding to the situation were movements that appeared too modern for the period and not accommodating of Liesl's costume. With Shanda Reprogle's vocal style being a trifle more "pop" than "Broadway", this further served to make the scene appear out of step with the rest of the show.
Overall, the show appears to be headed in the right direction. Admittedly this is not a show rooted in the dance medium and the choreographer's role is more likened to the icing on a cake than a main ingredient. I'm sure like any other opening night production there are still a few demons to be exorcized and eventually the details will all fall into place. That being said, for the majority of the show, Ms. Reynolds and company do a fine job of enhancing our musical experience.