The G&S Society of SA
Tickets: The Sound of Music | TryBooking Australia
Rodgers & Hammerstein’s The Sound of Music needs no
introduction. It is also a formidable work to stage. From its sweeping score
and beloved characters to its darker undertones of encroaching fascism, it
demands both heart and precision. Director Adam Goodburn, along with Musical
Director Liam Phillips, Choreographer Vanessa Redmond, Production Manager Alicia
McCluskey, and Assistant Production Manager Aliyah Goodburn, approach this
challenge with care, delivering a production at the Arts Theatre that is simultaneously
charming, moving, and grounded.
Goodburn’s direction is faithful to the classic text but not
without thoughtful flourishes which keep the material alive in 2025. He shapes
the story with clarity, giving space for both humour and poignancy. Phillips’
musical leadership ensures that the score rings out beautifully, with the nun’s
choral work emerging as a particular highlight. Redmond’s choreography is
tailored smartly to a multi-generational cast, confident in execution yet never
overcomplicated. Together, the team has built a foundation that allows the
story and performances to shine.
The von Trapp children have been double cast for G&S’
production, giving more young performers valuable opportunity to perform, and I
had the pleasure of reviewing the Hammerstein cast.
At the centre of it all is Maria, played with radiant warmth
by Emily Fitzpatrick. From the moment she bursts into the Abbey, Fitzpatrick
captures the restless spirit and open heart of the character. Her rendition of
the title song is assured and uplifting, instantly charming the audience and
setting the tone for the night ahead. More importantly, she sustains that
energy throughout, balancing Maria’s fun-loving mischief with humility and
strength. Her scenes with the children brim with sincerity, while her deepening
bond with Georg carry the emotional weight of the story.
Opposite her, Andrew Crispe offers a compelling Captain Georg von Trapp—firm and disciplined at first, though increasingly humanised by Maria’s influence. His interior journey is vividly clear, as he navigates relationships with his children, Maria, Elsa, and Max. Vocally, his duet “How Can Love Survive?” shows his expertise, but it is during the family’s reprise of “The Sound of Music” that his performance feels most touching, his naval façade giving way to a vulnerable father finding joy.
Megan Doherty’s Elsa Schraeder avoids the trap of turning
the character into a one-dimensional foil. Rather than a villain, she is a
woman pragmatic about the world and unashamed of it. This gives her departure a
bittersweet realism. Alongside her, Nicholas Bishop is a delightful presence as
Max Detweiller, infusing the role with comic spark without ever reducing him to
caricature. His timing livens the atmosphere, particularly in Act Two, and his
rapport with the von Trapps shows a man who, for all his wit and opportunism,
genuinely cares.
As Mother Abbess, Susie O’Connell impresses both vocally and
dramatically, opening the show with the “Preludium”. “Climb Ev’ry Mountain” is
a towering challenge, and O’Connell rises fearlessly to meet it, filling the
theatre with a rousing and emotional finale to Act One. Her quieter moments, whether
guiding Maria with warmth or sharing her light-hearted wit, reminds us that
this is a character defined by compassion more than solemnity.
The von Trapp children deserve high praise. Teresa van der
Hoek’s Liesl finds a confident independence, particularly in Act Two, while her
chemistry with Matthew Boyd as Rolf gives “Sixteen Going on Seventeen” a
nostalgic charm. Aidan Salmon as Friedrich and Sid Ion as Kurt offers credible
performances, despite Friedrich at times being difficult to hear above his
siblings. They capture the loyalty and bravery demanded of their roles,
particularly in the thunderstorm sequence.
Evie Dew (Louisa) and Mia Khairul (Brigitta) add playful energy, Dew delighting whenever Louisa’s mischievous streak appears, while Khairul impresses with strong delivery in the party scene, where she breaks the news to Maria about her father’s feelings. Marlo Bellison’s Marta shows poise and clarity with every line, especially during her sweet contributions to “So Long, Farewell.” Yet it is Audrey Fitzpatrick as Gretl, who becomes the audience’s darling with a simple wave in the first line up. Unflinching in confidence and brimming with charm, her every appearance was met with delight—a young star in the making should she choose to continue down the artistic path.
Adding depth to the household are Anne Doherty as Frau
Schmidt and Lindsay Dunn as Franz. Though smaller roles, their timing and stage
presence are consistently effective, their recurring entrances and exits add a
touch of humour and grounding the domestic setting convincingly.
On the technical side, Adam Goodburn’s set design is
ingenious in its restraint, maximising stage space while creating variety
without major scene changes. The use of scrim and rear-projection was a clever
solution for fluid transitions, allowing focus to remain at the fore. That
said, occasional issues such as the shadow of a chandelier interrupting a scene
by the Fly team remind us of the limitations of the venue rather than the fault
of design.
Sound and lighting brought both challenges and triumphs. The
orchestra under Phillips is rich and full, but at times the balance tipped
against the singers, particularly in ensemble sections where the volume was too
great. Lighting, however, was consistently strong, especially during the vivid
thunderstorm effects, which delivers drama without overwhelming the staging.
What this production ultimately succeeds in doing was striking balance: between the light-hearted energy of Maria’s world and the creeping threat of the political backdrop; between timeless nostalgia and fresh interpretation; between community-driven spirit and professional-level execution. Fitzpatrick’s Maria and Crispe’s Georg anchored the show with compelling performances, supported by strong turns from Doherty, Bishop, O’Connell, and the vibrant ensemble of children.
Goodburn and his team have mounted a production that feels
both celebratory and moving. Familiar songs are given new life, emotional beats
land with sincerity, and Adelaide audiences are reminded why this musical, more
than sixty years on, continues to resonate with such enduring power where audience
members still gasp, and is still relevant as ever in 2025.
- Andrew Broadbent
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