By Rachel Carr
Timpanogos Community Theater presents the time-honored classic, The Sound of Music, and this iconic musical will have you bathed in nostalgia from the moment you step into the theater, right through the finale, and well into your trip home.
Based on Maria von Trapp’s 1949 memoir, our beloved main character Maria Rainer (Maren Miller), a postulant who hasn’t quite found her place with the nuns of Nonnberg Abbey, accepts a position as governess over Captain Georg von Trapp’s seven children while she considers where her future may lie. Set in Austria just prior to the beginning of World War II, Maria’s hopeful story of finding herself contrasts perfectly with the underlying tension of the brewing political storm. Add in a love story that heals a fractured family, and some incredibly uplifting musical numbers, and The Sound of Music delivers a disarmingly moving tale of the power of hope, love, and song.
The show opens to Charity Johansen’s utterly gorgeous voice, a perfect fit for the role of Mother Abbess. From the first notes of the show, you know that the nuns are a highlight to this production. Johansen is a calming presence on the stage, carrying herself with a benevolence and grace apt for the head of an abbey. I must also commend music director Abbey Anderson here for the beautiful blend achieved by all of the nuns. I simply wanted more of their stunning vocals.
Miller as Maria Rainer has you captivated from the moment you hear her sing the musical’s titular song “The Sound of Music.” Her voice is clear and unwavering, a rich and strong foundation for the many musical numbers in this show, and her acting supports the painful yet beautiful journey Maria traverses, highly reminiscent of the mountain she loves to climb. Her interpretation of Maria is buoyant and hopeful, yet firm in the face of adversity. You simply want the best for her, and see her bring out the best in others.
It is such a treat to see Nathaniel Brown’s portrayal of Captain Georg von Trapp and his transformation from the stoic and grieving father to the protective family man. This role has many difficult layers to it, and Brown manages to display a vast array of emotion while maintaining the stoicism Captain von Trapp is known for.
Amalie Strongin is striking as Leisl von Trapp, clever yet naive, and clearly befitting the role of the eldest daughter. Her voice is bright and clear, and well worth attending to hear. The Von Trapp children are darling, and their abilities at each of their individual ages are impressive. They bring much of the joy and laughter in the show, and help lift the atmosphere when the oncoming Nazi regime could otherwise choke it off.
Mackenzie Tolk Houmand and Trevor Williams as Elsa Schrader and Max Dettweiler are quite the duo when it comes to their self-serving attitudes in the show. Houmand is clear in her haughty outlook on all, and pairs well with Williams’ fervor for anything that lends itself to his character’s benefit. Williams is a delight from the moment he appears on stage, captivating the audience with every pompous line. His interpretation of Max is new to me, and will certainly be a favorite going forward. He and Schrader sing beautifully together as they entice Georg and buoy each other, and Williams’ show-must-go-on attitude allows him to smoothly set up key plot points time and time again. Together they kick off the opposition that will force the climax of this play.
Liesl’s young love interest, Rolf Gruber, does not have very much time on the stage, yet Trystyn Roberts does not allow this to stop him from commanding the stage while he is present. He is charming at the outset, and completely transformed by the end, building on the Von Trapp family’s frightening circumstances perfectly. Neil Whitaker (as Herr Zeller) and Bradley Barker (as Baron Elberfeld and Admiral von Schreiber) are also excellent in their roles, representing an ironclad entity closing in on our beloved main characters. The entire ensemble works beautifully to fill in the gaps and create a fleshed out world for this story to live in.
Jason Young’s sound design is a highlight in any musical number at the abbey. Caleb Wallengren’s lighting design was filled with beautiful rich colors that helped set the tone in every scene. The lighting and sound designs combine to make the climax of the show thrilling and frightening in the best ways, as they emphasize the nearness of the oncoming war to the Von Trapp family.
Nicole Madsen and Kurt Madsen’s extensive scenic design seamlessly transform the stage into a number of locations, and fill the vast space well. The deck crew must be commended for their work in the countless scene changes required for this production. I’m sure it was no easy feat, yet they did it time and time again with efficiency (and a shout out to stage manager Adam Gowers, who no doubt had a hand in coordinating all of these intricate design aspects). N. Madsen doubles as the costume designer, and it is evident that each character’s personality was taken into consideration in the process. Mike Handy’s prop choices are appropriate to the era of the show, and help build the world without distracting from it.
A hats off to director Andrew Jefferies, who balanced the beautiful and the terrible to create a lovely and multifaceted world. Meg Flinders’ delightful choreography maintains the grace of the cinematic version so many of us know, while allowing more room for play between Maria and the Von Trapp children. This cleverly staged production is a must-see for The Sound of Music lovers, celebrating the heights of compassion and hope while inspiring us to diligently stand up for what is right, especially in the face of daring opposition. Go climb those mountains.
Timpanogos Community Theater presents The Sound of Music. Book by Howard Lindsay and Russel Crouse, and music and lyrics by Richard Rodgers and Oscar Hammerstein II.
Valentine Theater, 839 East 9th North, American Fork, Utah, 84003
April 22,2023 – May 6, 2023 7:00 PM
Tickets: $10-15
Contact: info@americanforkarts.com
Price: Adult $15.00, Child 3-11/Senior $10.00
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