The Sound of Music at Chichester Festival Theatre: "West End-worthy" | Review

We all know a musical about this combination is just not going to work, don’t we? Perhaps someone should have told Rodgers and Hammerstein that back in 1959.

And then again – perhaps they shouldn’t.

I suspect the majority of people have seen the 1966 film version and for those used to that, the original piece can be a bit of a shock; songs come where they’re not expected; other songs disappear altogether; where the hell did those songs come from? It must be said, on reflection, that some of the revisions made for the film do make it a better piece, but Chichester’s Festival Theatre have – on the whole – gone back to basics with their new rendition.

And what a rendition it is.

Director Adam Penford, choreographer Lizzi Gee and musical-director Matt Samer have the secret of theatrical alchemy. This show – creaking a bit at the joints like people of her age – has been transformed into something alive with the sound of brilliance.

Everything, but everything about this show is joyous and heartwarming.

Gina Beck, back at Chichester again following her Nellie Forbush in South Pacific, gives a wide-open, joyous performance as Maria. Physically they’ve tweaked her appearance so she hints, cheekily, at Julie Andrews but is most definitely her own Maria. Her lightness of touch in the dialogue and the warmth of her singing leap over the footlights and give you a big, warm hug.

Edward Harrison as von Trapp convinces as the harsh iceberg of a man melts slowly in the blazing light of his Maria. Vocally a little too vibrato-laden for my taste, but his performance still towers.

Nice work from Emma Williams and Ako Mitchell as Baroness Schraeder and Max Detweiller. The arrogance of Schraeder is masked by Williams’ performance, adding a welcome humanity and Mitchell’s Max is a wonderfully warm characterization.

And the kids! Nothing nauseating and twee here. There’s feist and fight in these children. Dylan Trigger, Sasha Watson-Lobo, Vishal Soni, Audrey Kattan, Maya Sewrey and Felicity Walton were on for press-night although, pleasingly, their alternates also got to take the curtain-call. I particularly liked Kattan’s performance; brutal and funny with no punches pulled. Balancing their child-like quality is a wonderful Liesl in the shape of Lauren Conroy. The not-so politically correct tweeness of Sixteen Going On Seventeen is given a lovely angle, here, with Liesl pretty much being in control of the situation and taking a rise out of Rolf (Dylan Mason).

But the show-stealers are those cheeky nuns. Their vocals, particularly the Rex Admirabilis and the Gaudeamus, make the show. Astounding, astonishing, brilliant, breathtaking.

West End-worthy. Transfer it.

Until September 3.