The hills are alive with the sound of music.
With songs they have sung for a thousand years.
It might not have been the hills in Birmingham, but certainly was the case that The New Alexandra Theatre was alive with The Sound of Music. Yes, the Richard Rodgers and Oscar Hammerstein classic with book by Howard Lindsay and Russel Crouse — it’s a production which needs no introduction.
The previous evening, I had been to see the overrated and totally underwhelming Hamilton and within the first few minutes of The Sound of Music, the horror of the day before was blown away by incredible vocals, great dance, excellent chorus and outstanding all round talent.
Leading the way was Molly Hopkins as Maria where during those opening bars of the title track, I almost thought that it was Julie Andrews’ actual voice I was hearing, it was that good. Excellent in all areas, Hopkins was a perfect Maria. But she also needs her love interest to make the show what we know, and Cree Henson was equally up to the task as Captain Von Trapp. A great combination.
In the Von Trapp children we had Bessy Hingley (Liesl), Jake Miles (Friedrich), Evie O’Malley (Louisa), Logan Meers (Kurt), Sophie Ballentyne (Brigitta), Frankie Foulger (Marta) and Lilly Jones (Gretl). All were tremendous with standards consistently high throughout and again, great chemistry. And they looked like they were enjoying and seizing the moment as well.
Playing Max Detweiler and Elsa Schraeder were Kieran Powell and Molly Ann Bache respectively. Extremely polished and they also got to perform the two great numbers sadly cut from the film in How Can Love Survive and No Way to Stop It. Then we get to the nuns of the Abbey. These were led magnificently by Ella Blair as Mother Abbess who shone in all her numbers, especially the iconic Climb Every Mountain. Also, in the convent were Rebecca McGregor-Black (Sister Berthe), Liv Glenny (Sister Margaretta), Emily-Violet Haywood (Sister Sophia) and Holly Boden (Sister Hilda). Additionally supporting well in the principals were Samuel Ryan (Franz), Eden Wedgbrow (Frau Schmidt) and Aiden Cooney (Rolf). I could go on and list the entire cast, they were so good, but with their numbers being almost 70, I don’t think my eyes could cope with all the cross-referencing this time to make sure I’ve spelt them correctly.
The producers of Sound of Music were Victoria Ellery-Jones, Becky Peers and Hannah Whitfield. The Director and choreographer was Pollyanna Turner with assistance on choreography from Olivia Wicks while Chris Newton oversaw Musical Direction.
What also stood out in this marvellous show was the use of ensemble. Now, I have been on company committees during show selections and the argument against what would almost certainly be a sellout is that there is not much for the chorus to do in Sound of Music. This production proved the opposite. It’s amazing what you can achieve with creativity and that stage buzzed with life throughout. Favourite number of the night was the full company Lonely Goatherd. So much to see and digest, you didn’t know where to focus at times.
Now, this production was The Alexandra Theatre’s 2024 Stage Experience, and I have left that information until last for a purpose. Take in all the wonderful observations above, then realise that this was rehearsed and put together with the final team in two weeks. Amazing. Also nice to see a few familiar faces from local youth companies. This was a top performance from all involved which had goosebumps rising in an audience who showed their appreciation with a near 100% and well-deserved standing ovation at the end.
Cheers.
Antony N Britt
*Photos taken from social media and may not be representative of the performance reviewed.
Antony N Britt - Author 