Photo: Manuel Harlan

Rarely have I enjoyed a musical as much as I did Adam Penford’s fresh, vibrant account of Rogers and Hammerstein’s best known and final collaboration. It’s respectfully traditionalist but feels sparklingly new minted.

Gina Beck’s Maria is naïve and feisty, humble but passionate and joyful but troubled. She makes the part completely her own – and there is no sense that she has modelled it on That Actress in That Film which still usually tops the charts for the most viewings of any film ever. Moreover Beck’s voice is sweet, strong, beautifully modulated and of course her diction is perfect. If you can’t hear every word of “The Lonely Goatherd” then it flops. Here it is a show stopper.

Edward Harrison gives us an ideal Georg – initially worried, bereaved, lonely and hiding behind fierceness but eventually healed by Maria’s presence. He does the transition effectively and I loved the final moments when, every inch a loving father, he takes Gretl (Felicity Walton on press night – delightful) on his back and the von Trapp family sets off up the steps through the dark auditorium which represents the mountains to Switzerland.

Of course there are two teams of children  and what a lovely, appropriate idea to bring the non-performing team on at the press night curtain call. The team I saw exuded talent and are a fabulous credit to Lizzi Gee’s choreography – moving with impeccable slickness and singing with accuracy as well as charm. Sasha Watson-Lobo as Louisa stands out particularly: dancing effervescently and singing with charismatic gusto.

Another great strength in this production is the sung harmony, especially from the female ensemble as nuns. Musical Director Matt Samer (tucked away with a fine 14 piece band behind and above the stage) makes sure that we hear every harmonic shift and enjoyed every chord and cadence.

Robert Jones’s set uses revolving flats and a rising desk and chair to evoke different parts of the von Trap villa and Abbess’s office against a craggy mountain backdrop. As we all know, though, this is 1938 and Austria is being annexed.  Hayley Egan’s projection of real Third Reich footage at the top, when the mood changes, is chillingly evocative – as are the Nazi flags carried through the audience to the stage.

While it is true that one or two of the principals don’t sing quite as well as Beck and Harrison (although Penelope Woodman does well as Frau Schmidt), in general this is a faultless show. I might have given it four stars but for one thing – the reaction of my 47 year old plus one. He knew the film, of course, but had never seen the show live although he is in general a pretty seasoned theatre goer.  He was in tears for most of the first half  –  deeply moved by the sheer power of it all. Any show that can do that to a middle-aged man of the world more than earns the final star in my view.

In short, buy a ticket before it sells out. And take plenty of tissues.

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  Photos: Manuel Harlan

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