Rodgers and Hammerstein’s The Sound of Music climbs to new heights at Lyric Opera of Kansas City
Photo by Ken Howard for Lyric Opera
Lyric Opera of Kansas City is striving towards a more accessible opera, and their current staging of The Sound of Music has cultivated an environment where families can unite over a familiar story in one of KC’s premiere venues. Opening on Broadway in 1959, Rodgers and Hammerstein’s The Sound of Music was quickly acclaimed, winning five Tony awards including Best Musical. The 1965 film starring Julie Andrews followed suit and became a generational family classic. Saturday night’s audience was full of families and representative of the entire age spectrum—a testament to how cherished this tale has become.
The story follows the whimsical Maria Rainer (Mikaela Bennett), as she takes on the role of governess for the seven von Trapp family children. Their father, Georg von Trapp (Edward Watts), is a Captain for the Austro-Hungarian Navy and leads his home with similar militant uniformity following his wife’s death. However, Maria’s immediate connection with the children and defiance to Captain von Trapp’s shuttered way of life warms the household and teaches the family how to love again.
The Lyric Opera of Kansas City is known for its top-tier staging and world-renowned productions. NYC-based Francesca Zambello’s masterful direction propels this production to the next level, artfully adapting a staging that immerses the audience in the sentimentality of the film, while also leaving room to celebrate familiar songs alongside their fellow audience members.
The scenic design (Peter J. Davison) glides between decorum in the Abbey to the lavish von Trapp household. The set’s horizon captures the elegance of the Alpine Mountains with pastel skies mimicking the rise and fall of the sun throughout scenes. The transitions were seamless, and never took away from the momentum of the story.
Photo by Ken Howard for Lyric Opera
Bennett’s Maria was a balance of kindness and mischief, evident from her first interaction on stage with Mother Abbess as she innocently defied the Abbey’s guidelines. Her relationship with the von Trapp children is playful and heartfelt, with her nurturing characteristics shining as their connection grows. Bennett performed her songs with vocal athleticism her skilled motion between the soprano lines of the titular song “The Sound of Music” and the belt-y freedom of “I Have Confidence”, left an air of excitement that reverberated through the audience.
The von Trapp children are all local to Kansas City, which adds to the personal connection of this particular production. Prior to the show, Deborah Sandler Kemper, General Director and CEO of the Lyric, opened the show saying “we’re doing something right,” in reference to the young talent in the production. The children were delightful on stage and played each von Trapp’s distinctive personalities with ease—the audience was full of close-knit supporters, eager to celebrate the children at curtain call.
Of the show’s supporting cast, there were notable standouts in the performances of the baroness Elsa Schraeder (Alyson Cambridge) and Max Detweiler (Peter Morgan), who have two duets unique to the stage version. “No Way to Stop It” is about stuffing political beliefs in favor of neutrality, a comment on Captain von Trapp’s staunch hatred for the Nazi regime. “How Can Love Survive” is a jaunty song that hints at love’s doom without a deeper sacrifice, a not-so-humble jab at the Elsa and the Captain’s wealth. Cambridge and Morgan play their characters lightheartedly and lean into the comedic elements of the story—though the two roles were designed as a contrast to the morality that Maria and Captain von Trapp demonstrate, their character shone throughout the story were ultimately a source of endearment rather than antagonistic.
Alexandra Loutsion’s portrayal of Mother Abbess, specifically her booming rendition of “Climb Ev’ry Mountain”, was a force to the stage—her operatic voice enveloped the whole theatre and the soaring conclusion to the first act was a highlight of the show.
Though the show largely resides under the gooey and sentimental, the impending Anschluss, Nazi Germany’s invasion of Austria, contrasts from the saccharine love story. The Nazis bombard the von Trapp household and pressure the Captain to defy his values and join the German Navy. His refusal to conform to this regime forces the von Trapp family to flee the country.
Leading up to their escape, the von Trapp family performs in a musical competition, in a move to stall Captain von Trapp’s impending service. Watts’ heartfelt rendition of “Edelweiss” is a patriotic tune of his Austrian homeland and captured the dedication he feels to his home, a stark shift from the closed-off man earlier in the story. Watts’ voice was a warm baritone that lulled the audience peacefully against the otherwise troublesome backdrop. The show ends as the family escapes over the Alpine Mountains to a quiet reprise of “Climb E’vry Mountain”.
The Sound of Music at Lyric Opera captured the charm and nostalgia of the coveted Golden Age story, with the stage production is a must-see for new and familiar audiences alike. The production will run through November 12th and you can purchase tickets through the show’s website.
Photo by Ken Howard for Lyric Opera
