“The hills are alive” in Wharton with the von Trapp family
LANSING, Mich.–My teenage son, who was experiencing The Sound of Music at the Wharton Center for the very first time in any format, was gasping for breath at intermission–saying the show had given him “the feels.”
It was a genuine reaction to a show that was authentically emotional, true to its storytelling and strong in its singing. In fact, no matter how many times you’ve experienced this story, the new tour of The Sound of Music is an incredible evening of theater.
They just do everything right and pull together a cast that fits every role like skinny jeans on a Calvin Klein model.
It all starts with Kerstin Anderson, the college sophomore who is playing Maria. She’s got an energy and an innocence about her that redefines Maria as the young postulant who is thrust into a governess position with seven children who have already gone through several governesses. She’s got charm in a down-to-earth way. It’s easy to see why her superiors in the convent are divided about her—obedient she isn’t, but she’s overflowing with love for life and all those around her.
She’s also a joy to listen to. She has a beautiful voice that is able to express a wide range of emotions from confident to comforting.
Speaking of voices, Ashley Brown as the Mother Abbess is simply stunning. She has powerful pipes that bring the house down when she belts out “Climb Ev’ry Mountain.” She hints at her power when she opens the musical with a chanting, religious number, and then simply grows with every song.
The children’s ensemble is a delight. They each bring distinct characters to the stage and perform with talents far beyond their years. They’ve mastered the art of performing as an ensemble and from the moment Maria first teaches them to sing, the children harmonize with the best of them. It’s easy to understand why their singing transforms their father and seduces Max, the organizer of the national cultural festival.
Standouts in the ensemble include Paige Silvester as Leisl and Svea Elizabeth Johnson as Brigitta. Both connected well with others on stage. Silvester was especially sweet in her number with Rolf in “Sixteen Going on Seventeen.” She shows herself to be less naïve than Rolf thinks she is. Johnson is frank and calls the shots as they are, creating a character that is exactly as others describe her, and acts as a believable catalyst to the story.
Ben Davis is Captain von Trapp, head of the family. It’s easy to see why Maria falls in love with the character Davis portrays, for he is a man of outspoken character. Davis imbues the Captain with subtlety, especially when he is singing. He is responsible for some of the many truly emotional moments of the play and with unexpected hesitancies and vulnerable reactions, he communicates the complexity of the Captain and the choices he must make.
Teri Hansen provides a contrast to Maria with her Elsa, a sophisticated woman who is powerful and rich in her own right. She’s a woman of the world and gives the audience an Elsa who is likeable even while being so different from the lovable Maria.
While the movie is known for its sweeping scenic pictures, the stage version holds its own. Scene changes happen swiftly even when going from the tall walls of the abbey to the expansive manse with a large, circular stairway. Nothing is stinted on, but the set is background, not a character in its own right, which is what a set should be.
There were some sound issues on opening night with some microphones cutting out and some feedback early on, but they will hopefully have that fixed for the rest of the run.
The sound issues were small, though, and didn’t detract from what was overall an incredible night at the theater. The story may be familiar, but these performers breathe new life into it and make it well worth seeing whether you’re experiencing it for the first time or the 100th.
Show time: 7:30 to 10:20, with intermission