Camelot’s production has flaws but makes a satisfying holiday musical
By Lucie K. Scheuer for Ashland.news
“The Sound of Music,” now playing at the Camelot Theatre in Talent, is like a really nice hot apple cider recipe you’ve had in the family for generations. It’s warm and comforting, missing some orange zest and a cinnamon stick, but nevertheless, familiar and satisfying.
It is evident that a lot of work went into this production, and it is, for all intents and purposes, an entertaining holiday vehicle for Rogue Valley families. There are certainly some ingredients that need balancing, but as a whole it accomplishes what it sets out to do: celebrate the human spirit.
On stage, wood panels offer the Alpine, cathedral-like ambiance the story evokes. Since the panels at times represent windows in a Salzberg villa, they might have been framed a little more ornately for the period, 1935-38; still, they serve as an imaginative backdrop to the story, thanks to scenic designer and master carpenter Christopher Burkhardt.
A great story and great composers
For recent generations, who might not have seen the Oscar-winning film or the original 1959 musical, this one has it all: An unforgettable score by Richard Rodgers and Oscar Hammerstein II — two of the greatest Broadway composers of the 20th century — and a great story, loosely based on fact, by Howard Lindsay and Russel Crouse.
Maria, a young postulate hoping to take her vows to become a nun at an abbey in the Alps, is assessed as a bit too unrestrained, not ready for life in the convent. The wise Mother Abbess decides Maria should spend some time as a nanny taking care of a retired Austrian naval commander’s children while she reconsiders her vocation.
The eve of World War II
When Maria arrives at the von Trapp mansion, she gets a lot more than she bargained for: a captain with seven children, who is long on discipline and short on humor, and children who have a penchant for getting their nannies fired. It all takes place during a dark time. World War II is looming and it looks as though Austria is about to be invaded by the Germans.
So, what could this recipe use more of? Director Haley Jane Forsyth’s oversight. Her lead players, Amirah David (Maria) and Ryon Lane (the Captain) need more coaching. David is a lovely Maria. She can be contrite when needed and persuasive with the children. It is hard to believe, however, she has developed strong feelings for the Captain. (Her singing also needs some fine-tuning, with less flatting and more enthusiasm.)
Hits and misses
Lane has captured von Trapp’s aloofness, but seems to move from one scene to another in an uninterested manner. There doesn’t appear to be chemistry established between him and Maria. He never really seems to warm up to his children, either. Thanks to choreographer Shannon Carter, Lane and David do engage in the Austrian folk dance the “Ländler” beautifully together.
Marcus Hardesty is an amusing Max, friend of the Captain and host of the festival in which he insists the children perform. Hardesty and Forsyth might want to review his accent and decide if he really needs one, since it seems to come and go.
Elsa von Schraeder, played by Lindsay Nashington, is a wealthy, sophisticated but somewhat snobbish baroness trying to seduce the Captain into marrying her. Nashington plays a conniving Elsa but does not portray her as being from the “upper class.”
Sean Glover as Rolf, plays well opposite Marin Alexis’ Liesel. Alexis has a lovely voice. Their song and dance number “Sixteen Going on Seventeen,” is delightfully choreographed by Carter and one of the best in the show. It would be a stretch to believe Glover has turned from teen heartthrob to Nazi Hitler youth, however. It just doesn’t seem to happen. Without what should be his character’s noticeable personality shift from kind to cold and commanding, a key scene in which the Nazis are searching for the von Trapp family lacks the tension it should have.
Celina Gigliello’s costumes are a good fit, including the habits for the nuns and play clothes for the children. However, in major scenes Marin Alexis’ sweater and skirt appear too big for her.
A key musical number shines
There is a wonderful number that was cut from the movie, but thankfully remains in the staged production, “How Can Love Survive?” It is quintessential Rodgers and Hammerstein. Larry Smith’s musical direction makes this production. And the children’s singing? It is equal to the nun’s — highly listenable and well rehearsed. Stephanie Rhoads as Mother Abbess has a strong voice and really inspires with “Climb Every Mountain.”
Kate Landon’s lighting effectively highlights Maria’s antics outside the abbey and the festival from which the family suddenly vanishes with Nazis in hot pursuit.
The Sound of Music wasn’t created as a holiday musical, but it could have been. After all it is about family, loyalty, singing, hope and joy. You can’t get more in the spirit than that.
Ashland resident Lucie K. Scheuer is a former copy editor and staff writer with the Los Angeles Times, where her work included features, reviews and a column on films in production. Email her at LucieScheuer19@gmail.com.
