Rodgers and Hammerstein’s The Sound of Music is a classic musical. Based on the true story of the musical Von Trapp family in 1938, the show was a hit in 1959. It focuses on the widowed Captain Von Trapp, his seven singing children and Maria, an strong-willed postulant who comes as a governess then abandons her religious calling when she and the Captain fall in love. The family’s music helps them to combat Nazi oppression in Austria.

A popular 1965 movie, The Sound of Music is a beloved show with music that most everyone knows. That makes it a good choice for the holidays, which is why Jersey Productions chose it to conclude its third season. It’s selling well, based on the familiar title: The final weekend has only a few seats remaining for performances on Thursday and Saturday (2 and 8 p.m.) and Friday evening (8 p.m.). A lot of people will see it, but I suspect they’ll wonder why this Sound of Music doesn’t really sing.

The production has some excellent individual performances — Kelly Pekar is a sweet Maria and Ty Yadzinski plays Captain Von Trapp with a lot of starch and smoke; Dianne Robinson offers a stirring Mother Abbess, and Liz Vosmeier is the arch Frau Schraeder who can’t land the Captain — but they seldom truly connect with one another. The children’s ensemble is charming (five of the seven kids are double-cast and perform alternately), but they aren’t enough to carry the show.

The production feels under-rehearsed, and the nuns’ choral performances (“Preludium” and “Nun’s Processional”), often the show’s loveliest moments, feel ragged. On opening night, microphones and amplified sound behaved erratically. Sets are minimal — an amateurishly painted hedge with oddly tilted perspective is the backdrop for numerous scenes, including one strangely overhung by a chandelier.

This perfunctory performance, offered minimally and expeditiously, fails to demonstrate why The Sound of Music was a hit a half-century ago.


THE SOUND OF MUSIC, presented by Jersey Productions at the Aronoff’s Jarson-Kaplan Theater, continues through Saturday.


RICK PENDER has written about theater for CityBeat since its first issues in 1994. Before that he wrote for EveryBody’s News. From 1998 to 2006 he was CityBeat’s arts & entertainment editor. Retired...

Leave a comment