The Sound Of Music (Evesham Operatic and Dramatic Society)
In what is the 60th Anniversary of the original stage production of Rodgers & Hammerstein's 'The Sound of Music' it is I guess no surprise that many operatic/musical theatre companies have chosen this classic for their production in 2019. My latest viewing is currently running at Evesham Arts Centre and is the offering from Evesham Operatic and Dramatic Society transporting the audience back to those distressing days during the Nazi invasion of Austria but, made somehow tolerable by the engaging storyline and the musical elements we all know and love.
Much I am sure to the chagrin of the adult cast, I have to say the Von Trapp Children (in this case Team A) are a group of little stars who light-up the stage both with individual character and team togetherness. I would normally give the prize for cuteness to whoever is playing youngest child Gretl and there is no doubt that Effie Howdle is an audience pleaser that evokes the appropriate reactions from the crowd but, she is run to a photo finish by Louisa Gould as Marta (I’d be surprised if there isn’t a stage star in the making there). This shouldn’t however take anything away from incredible performances from Lauren Bridges (Brigitta), Woody Palmer (Kurt), Abigail Roberts (Louisa), James Cook (Friedrich) and a beguiling portrayal of eldest daughter (the one who doesn’t think she needs a governess) Liesl by Marie Emond.
Gail Andrews is an effectual and pleasing Maria, playing the part with great personality opposite Michael Bowen as a strong and yet impressively understated Captain Von Trapp using pauses and looks to great effect in order to own the stage when necessary. Alison Roberts provides a dominant vocal and on stage persona as the Mother Abbess, intense and convincing role adoption from Gemma Bailey as Elsa Schrader, memorably creating great musical moments in the ‘How Can Love Survive’ and ‘No Way to Stop It’ numbers and complemented by some comic additions from Phil Dobbins as Max Detweiler.
Steve Roberts as butler Franz, Sue Emond as housekeeper Frau Schmidt and Alistair Hutton as love interest for Liesl and Telegram Boy, Rolf Gruber (authentically clad in appropriate uniform, including shorts) all deliver convincing performances. Nuns a plenty adorn the stage when required, not least during the ‘Maria’ number, performed admirably by the Mother Abbess, Rebecca Barclay (Sister Bertha), Tracey Wallbank (Sister Sophia) and Nuala Wooltorton (Sister Margaretta).
Credit to the Creative Team of Greg Pearson/Amanda Golding (Directors), Oliver Lister (Musical Director) and Bethaney Rimmer (Assistant Choreographer) for creating an entertaining piece which runs until 16th November 2019 and is well worth a viewing.
Book Here
Much I am sure to the chagrin of the adult cast, I have to say the Von Trapp Children (in this case Team A) are a group of little stars who light-up the stage both with individual character and team togetherness. I would normally give the prize for cuteness to whoever is playing youngest child Gretl and there is no doubt that Effie Howdle is an audience pleaser that evokes the appropriate reactions from the crowd but, she is run to a photo finish by Louisa Gould as Marta (I’d be surprised if there isn’t a stage star in the making there). This shouldn’t however take anything away from incredible performances from Lauren Bridges (Brigitta), Woody Palmer (Kurt), Abigail Roberts (Louisa), James Cook (Friedrich) and a beguiling portrayal of eldest daughter (the one who doesn’t think she needs a governess) Liesl by Marie Emond.
Gail Andrews is an effectual and pleasing Maria, playing the part with great personality opposite Michael Bowen as a strong and yet impressively understated Captain Von Trapp using pauses and looks to great effect in order to own the stage when necessary. Alison Roberts provides a dominant vocal and on stage persona as the Mother Abbess, intense and convincing role adoption from Gemma Bailey as Elsa Schrader, memorably creating great musical moments in the ‘How Can Love Survive’ and ‘No Way to Stop It’ numbers and complemented by some comic additions from Phil Dobbins as Max Detweiler.
Steve Roberts as butler Franz, Sue Emond as housekeeper Frau Schmidt and Alistair Hutton as love interest for Liesl and Telegram Boy, Rolf Gruber (authentically clad in appropriate uniform, including shorts) all deliver convincing performances. Nuns a plenty adorn the stage when required, not least during the ‘Maria’ number, performed admirably by the Mother Abbess, Rebecca Barclay (Sister Bertha), Tracey Wallbank (Sister Sophia) and Nuala Wooltorton (Sister Margaretta).
Credit to the Creative Team of Greg Pearson/Amanda Golding (Directors), Oliver Lister (Musical Director) and Bethaney Rimmer (Assistant Choreographer) for creating an entertaining piece which runs until 16th November 2019 and is well worth a viewing.
Book Here
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