Photo by Jeremy Daniel
There are certain theatrical titles that arrive with the comforting weight of old friends, wrapped in nostalgia and scored into the very soundtrack of our collective memory. “The Sound of Music,” featuring unforgettable music by Richard Rodgers, lyrics by Oscar Hammerstein II, and a book by Howard Lindsay and Russel Crouse, is certainly chief among them. Suggested by “The Trapp Family Singers” by Maria Augusta Trapp, this beloved masterpiece holds a place in our hearts. As we celebrate the milestone anniversary of the legendary film adaptation that continues to reign as one of the most successful movie musicals of all time, the national tour currently playing at the Orpheum Theatre through Oct. 25 proves that this material is as vital, moving, and brilliantly alive as ever.
This is the classic musical with everything we adore, from singing children to play clothes fashioned from window curtains. Yet under the polished direction of this touring production, the familiar elements sparkle with fresh theatrical urgency.
In the pivotal role of Maria, Sydney K. Borchers offers a beguiling, utterly magnetic interpretation that will easily define the role for a generation lucky enough to catch her on this tour. We embark on a journey with her, from the opening beats of her hillside number to that pivotal dance with Captain von Trapp that gently opens her heart to love. That one folk dance possesses an electrifying chemistry that sets up their relationship and the audience can feel it. Borchers captures the exquisite duality of Maria, presenting us at once with a devoted servant of God and a vibrant woman with the deep capacity to love a man and his children. She possesses the sparkling charm of Julie Andrews and the pipes of Shirley Jones, infused with a romantic leading lady confidence not always seen in the role.
Equally dazzling is Ariana Ferch as the eldest daughter Liesl, delivering a textbook ingeneue performance who happens to fall for the wrong boy. Her vocal delivery is crystal clear, instantly reminding me of a young Kelli O’Hara. Her tender duet of “Sixteen Going on Seventeen” with Dylan Bradford as the older and wiser Rolf feels like classic musical theatre at its absolute finest. Ferch is perpetually present on stage, seamlessly balancing her duties of tending to the younger von Trapps with stepping into her own womanhood. Her performance remains wonderfully grounded and authentic throughout.
Photo by Jeremy Daniel
One of the most emotionally resonant moments of the evening arrives when the von Trapp family gathers to sing “Edelweiss,” led with quiet dignity by Kevin Earley as the Captain. Against the backdrop of our current troubled world, the song lands with a poignant, tear-inducing gravity that lingers long after the curtain falls.
Twin Cities theatergoers will recognize Broadway powerhouse Lisa Howard from her unforgettable Twin Cities turns, whether lighting up the Guthrie or commanding the Orpheum stage. Howard delivers a wonderfully fresh take on the Mother Abbess that is both stoic and refreshingly humorous, truly putting the mother in Mother Abbess. When she unleashes her soaring vocals on “Climb Ev’ry Mountain,” her rousing rendition resonates like a fierce battle cry for modern audiences, reminding us all that they simply do not write songs like that any longer.
Visually, the production is an absolute feast. The scenic design by Douglas Schmidt is, in a single word, stunning. The ever-changing, gliding lace panels dotted with delicate edelweiss define the space with effortless grace and provide remarkable depth to every scene. These shifting backgrounds transport us seamlessly from the quiet sanctity of the abbey to the grand family estate and right into the soaring Alps, boasting an aesthetic of living gallery canvases that flood the Orpheum stage with light and texture.
Photo by Jeremy Daniel
If you are a lifelong fan of the story or happen to be one of the rare souls who has never experienced it live on stage, this is one radiant production simply not to be missed. And while you may feel an overwhelming urge to sing along from your seat, please resist the temptation; we are all there to marvel at the professionals on stage.
