The Sound Of Music

The opening scene of this London Palladium production of The Sound Of Music features a murmur of nuns holding candles, slowly walking in formation around a dimly lit stage, a few descending stairs to infiltrate the stalls. The scrim acts as filter and Maria (played to perfection by Amy Lehpamer) appears upstage, as if part of a painting, launching into The Sound Of Music and the hills are most definitely alive, complete with staggered stacked rostra for Lehpamer — whose timbre perfectly mimics that of Julie Andrews — to (sometimes awkwardly) climb.

The mere sight of several cast members — such as Lorraine Bayly (Frau Schmidt), Cameron Daddo (Captain von Trapp) and Marina Prior (Baroness Schraeder) — coaxes scattered applause. But we miss the gazebo that's so essential when recreating the Going On 17 scene! Daddo acts convincingly, but his singing is weak and he could improve his posture to befit his character's stature. When the wonderfully characterised von Trapp kids hug the father whose affections they so desperately crave, we reach for the Kleenex.    

Rodgers and Hammerstein's beloved score elevates the pomp and drama, and how easy it is to forget this musical's sinister Nazi subplot among all the catchy songs! So much happens at the close of Act Two — it feels somewhat rushed. Corny, sure, but The Sound Of Music is also timeless. A rewarding audience experience.