The Kalamazoo Civic Theatre recently opened its production of “The Sound of Music.” WMUK’s Gordon Bolar has this review.
One of the best-loved numbers from one of America’s best-loved musicals is “My Favorite Things.” The song’s title is a fitting introductory note to my own list of favorite things.
With apologies to Rogers and Hammerstein, my list does not include “whiskers on kittens” or “schnitzel with noodles.” For purposes of this review, my list details favorite things related to director Ben Zylman’s superb production of “The Sound of Music” at the Civic Theatre.
At the top of my list is the Civic debut of Rebekah Hill in the lead role of Maria. Her strong portrayal of this ebullient character and her vocal delivery of half a dozen numbers, including the show’s title song, solidifies the sympathies of the audience and the von Trapp children.
Hill’s performance tops my list partly because of her character’s growth. She transitions from an uncertain future as a nun to governess in the von Trapp family home as she grows enough backbone to confront the domineering Captain von Trapp. In the process, she captures his heart.
Next on my list are the von Trapp children themselves. This production manages to present seven distinct personalities and voices, beyond the requisite stairstep arrangement of ages and heights. From the spirited Liesl, played Marissa Toweson, down to the youngest, Eloise Cameron’s Gretl, these siblings, despite their father’s discipline, show their character’s individual needs and opinions.
Another favorite on my list is R.J. Soule as Max, the enthusiastic impresario. Soule’s fully dimensional character is fun to watch as he attempts to tip-toe the line between promoting the culture of his native Austria and cooperating with the Nazi’s imminent annexation of his country.
Sara Sherman’s choreography for this production also makes my list of favorite things. Maria and the von Trapp children find inventive and appropriately playful ways of physically bringing the engaging lyrics of “Do-Re-Mi” and “The Lonely Goatherd” to life on the stage.
Ben Zylman’s production is also supported by fluid transitions and dramatic pictorial reveals of David Kyhn’s appealing set design. Any musical production that makes 18 or so scene changes seem like only five or six will inevitably make my list of favorite things.
Next on my list are the reprises of many of the show’s well-known numbers. Except for a few songs, like “Edelweiss,” beautifully rendered by Lucas Mansberger as Captain von Trapp, Act Two of “The Sound of Music" is largely comprised of reprises from Act One.
The performers in this production, however, understand that the reason for this is not merely to replay an array of previously heard, appealing tunes. Director Zylman’s cast recognizes that changes in character and the political climate bring new meaning to songs we heard in the first act. A stronger and more vibrant version of “My Favorite Things,” for instance, reflects the children’s unbridled sense of joy that accompanies Maria’s return from the abbey.
“Sixteen Going on Seventeen” is reprised with a degree of cautionary reflection in Act Two. Liesl’s formerly flirty duet with a potential beau is now sung with Maria, now changed from a governess into a parental role.
“So Long, Farewell,” previously delivered by the children as a good night to party guests, is presented in Act Two at a public concert as a subtle goodbye to the repressive Nazi regime. The unspoken message between the lines marks a powerful beginning to the family’s remarkable journey.
Strong act-ending numbers, such as “Climb Ev’ry Mountain,” the show’s figurative anthem to courageous pursuit and fulfillment in Act One, also make my list of favorite things. The soaring soprano of Nicky Aiello as Mother Abbess lifts the first act conclusion. Backed by the inspirational voices of the nun chorus in the Finale Ultimo, Aiello’s song takes on literal meaning as the von Trapp family prepares to cross the Alps to freedom.
Add to my list an orchestra led by Marie McColley-Kerstetter that is consistent, supportive, and never overpowers the vocals.
Although my list of favorite things about “The Sound of Music” is much longer, I will conclude by noting the enthusiastic, and most important, well-deserved standing ovation that followed the matinee I attended on Sunday, November 26, 2023.
