Richard Rodgers and Oscar Hammerstein II were at the top of their game when they wrote The Sound of Music, and it remains as wonderful today as it was when it premiered in 1959.
The true story—from the memoir written by Maria von Trapp—is the basis for the plot. Does anyone not know it? Regardless, this theatrical snapshot of idyllic Austrian life in the 1930s, impacted by the gathering storm clouds of Nazism, is inevitably affecting—and you will leave the theater humming, singing or at least thinking about the music. It’s like an earworm, in a good way.
At the Palm Canyon Theatre’s production, the first hurdle to be cleared is The Kids. Baron von Trapp has seven children and a deceased wife (and not one person ever wonders why), so a girl from the nearby nunnery is hired to act as a nanny for them. Maria, whom we’ve already established is not particularly suited for the cloistered life, is sent to do the job. Well, the whole play could be sunk without a gurgle if the children weren’t as ideally cast as these are: They’re adorable without being syrupy, fresh without being boring, and their singing is just great, particularly the kid playing Leisl. Kudos to all of them!
The next problem could be Baron von Trapp. But stage veteran Mark Almy fills the bill as the imperially slim, naturally elegant and casually sophisticated Navy captain. (Austria is a landlocked country, so this is a bit puzzling … but they do have some lakes.) Almy never does show us the power that we know he can command, as vocally gifted as he is, yet his choices are correct for his character. However, we have to rap his knuckles for too often dropping his voice at the ends of spoken sentences. Nonetheless, he carries von Trapp through the lovely arc from uptight single dad to warm, caring husband and father, all due to Maria.
And that brings us to Maria: Any actress brave enough to follow in Julie Andrews’ incomparable footsteps deserves credit. Palm Canyon’s uncredited Maria has the face of an angel … and later on, in her wedding dress, a va-va-voom Barbie Doll figure. Her glorious blonde hair is a ray of sunshine (and no, I do not say that because it is exactly my color), even if the braids are a little too fat to be believable. It is a daunting role, and a demanding role. Vocally, she started out singing sharp, and it took some time for her to regain her pitch—but what unfortunately didn’t change was her choice to sing behind the beat of her solos. This is OK for saloon and torch singers, but not for musical comedy. Still, she handled the emotional range fairly well, despite some overacting on the high-energy end.
The supporting roles were often played unevenly, with actors sometimes stiff, hesitant, unconvincing or unintelligible, and almost all of them needing more of that one ingredient that defines the Austrian persona: charm.
The Palm Canyon Theatre has a commitment to the community, and as such, it tries to include a variety of people in its productions. Double-casting is one way to get more people on the stage, and in this show, there is a “Blue” cast and a “Green” cast, so patrons visiting on different days may see different actors—and, hence, a different show. Director Steve Fisher handled these challenges admirably in the “Blue” version that we saw. With such a huge cast, logistics are invariably a nightmare, but they were performed fairly smoothly. Fisher uses every part of the theater for blocking, even pouring the cast down the staircases and through the audience.
The set, of course, is simply marvelous; J.W. Layne never disappoints. But what’s up with the sound? The Sound of Music became The Sound of Static far too often, with microphones cutting out, scraping against costumes, and sputtering—with one deafening attack of feedback. We’ve mentioned this problem before. Is it time to consider overhead microphones, or some other alternative? Instead of the hills being alive, here, they are too often dead. Someone has got to check the lighting, too—several scenes were ruined by shadows across the faces of the very actors who were singing or speaking. The technical aspect of theater must be nearly flawless, because unfortunately, everyone remembers only failures. Some special moments do deserve applause, such as the appearance of the uber-creepy swastika sweeping onstage.
By the way, the first act runs one hour and 45 minutes—so make sure your kidneys are advised. Mercifully, the von Trapp family speeds through the second-act plight in record time.
We must never forget that this show was written by Americans—often a surprise to those who think that “Edelweiss” is an olde European folk song. (As an aside: When I was an on-the-road musician, in another life, a sweet old drunk in Vancouver, British Columbia, frequently appeared in my lounge and demanded to hear that tune. While I sang it, he would lurch around the room and show everyone his actual dried edelweiss—the flower was pressed, preserved and displayed with his driver’s license. It’s impossible for me to hear that song and not think of him.) The words are thoughtfully printed in the program—to help you later with your earworm.
The Sound of Music is performed at 7 p.m., Thursday, Oct. 10; 8 p.m., Friday and Saturday, Oct. 11 and 12; and 2 and 7 p.m., Sunday, Oct. 13, at the Palm Canyon Theatre, 538 N. Palm Canyon Drive, in Palm Springs. Tickets are $32. For tickets or more information, call 760-323-5123; or visit www.palmcanyontheatre.org.