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One of the challenges of undertaking such a popular show is that the bar of
audience expectation is set high, coupled with ‘The Sound Of Music’ being
an ambitious show for any society to undertake, calling for a very large
cast, challenging vocal ranges, a thick orchestral score, a mass of period
costumes and big sets, ranging from the inside of a mansion to a convent, and
the small challenge of the Alps! Wakefield West Riding Theatre Company (WWRTC)
proved well capable of meeting this tall order with a wonderful production
that was most enjoyable.
The sound team had a big job on their hands, with 35 cast members
all being individually mic’d up, balancing different levels of sound coming from
different levels of experience. The show’s principal cast were all very
comfortable on stage, it seemed, led by the very talented Grace English, who
played Maria, and was more than comfortably supported by Ian Fryer, Captain Von
Trapp, and Rachel Hirst-Marshall, Mother Abbess. We were treated on more than
one occasion to beautiful duets from English and Hirst-Marshall, whose voices blended
wonderfully, and Fryer’s silky-smooth baritone was a delight for the ear. The
rest of the cast all grabbed their roles by the scruff of the neck, made them their own. The 7 children were all cast well, and I would like to congratulate
the Roses team, on their excellent togetherness as a group of children, they
obviously enjoyed spending time together, and had a bond much like a close-knit
family do.
The set for this show plays such a large part in telling the
story, we spend a lot of time in the Von Trapp family home, a lavish mansion at
the base of the Austrian Alps, which was decorated sparsely, a staircase leading into both wings at the back of the
stage, and a few items tastefully scattered around the stage. The abbey, which
was very minimalist, some stained glass windows on a curtain, or a full tab
painted like a corridor, which was tastefully used downstage for scene changes
to take place. Other notable scenes were Maria’s bedroom, where the joyous
‘Lonely Goatherd’ takes place, and the wedding scene was also tastefully done.
The costume department for this show did brilliantly, with what
must have been a constant battle, sorting costumes for over 30 people, most of
which had at least 2 costumes, and the children and Maria had multiple outfit
changes, so keeping on top of this, and being organised through the run is a
massive achievement, so bravo! Not only were there many costumes, but a varied
range of costumes, from naval uniforms to white dresses with blue satin sashes,
to Nazi-German soldiers and officers, and of course, the different stages of a
nun’s habit, from apprentice to mother superior. The lighting was well balanced
throughout, except for one moment where Rolf and Leisl were singing to each
other in the dark!
Without an orchestra, this show would just be a (rather long)
straight play, that would potentially drag on a bit too much, but thankfully,
James Greatorex and his orchestra (who weren’t named in the programme) were
there to guide us through the show, adding light relief and adding an upbeat
sense of direction to the show.
Theres nothing more to add really, other than to congratulate
director Dee Bennie-Marshall on this triumph of a production. You have every
right to be proud of what you and the WWRTC have achieved here, and I hope the
rest of the run goes well for you all. Bravo.
Reviewer - Simon Oliver
on - 10.5.22
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