Review: The Sound of Music (27/11/25 Leicester Curve)

A festive gift for the whole family”

“The classic reimagined”

The Curve’s festive offering this year is the immortal and enduring The Sound of Music, playing until 17 January. Sixty years on from the release of the Oscar-winning film adaptation, this ambitious ‘Made at the Curve’ production, directed by Curve Artistic Director Nikolai Foster is a reimagining in every sense of the word.

There is plenty to love about this production, as the audience testified to with a standing ovation! The company is led by Molly Lynch as Maria and David Seadon-Young as Captain Von Trapp. Foster seems to deliberately jettison any Julie Andrews or Christopher Plummer residue. Lynch’s Maria is clumsy and naïve, a fresh postulant thrust from the shelter of Nonnberg Abbey, out into the real world as an inexperienced governess for the seven Von Trapp children. Their distant father Georg considers his own future and the future of his beloved Austria in the nasty face of a rising Nazi Germany. Seadon-Young plays a pensive and complicated Captain, which comes into its own in the second act as he handles the pressure of the impending Anschluss. His portrayal lacks the assurance and authority of Alexander Hanson’s Captain in the 2006 London Palladium production, but then this is a different Georg for a different time. Molly Lynch brings some funny, occasionally zany moments as Maria, the audience enjoying a playful rendering with a generous helping of sarcasm. 

Foster’s production presents a more mature musical, stripping some of the innocence associated with the Robert Wise film. The surreal moments charting the rise of Hitler and the Nazi party really up the stakes in Act 1. The conclusion of “Climb Every Mountain” takes on new meaning with the presence of several SS officers silhouetting the Alpine backdrop of Michael Taylor’s effective set. Choreographer Ebony Molina brings some nice moments of movement throughout, but abandons the traditional Viennese Waltz at the Act 1 Von Trapp dinner party for a jarring use of Contemporary dance mingled with coordinated Nazi salutes. Nick Lodge’s surreal radio broadcast motif over the top of this culminates in a clever intention that somehow doesn’t seem to land. Foster saves his surrealist best for last during the ‘Finale Ultimo’ where Christian Cooper’s excellent Rolf Gruber removes his SS jacket and throws it to the floor, all the while juxtaposed with Minal Patel’s charismatic Max Detweiler appearing on the staircase dressed in a death camp prison uniform. The effect was breathtaking, akin to the final moments of any decent incarnation of Kander and Ebb’s Cabaret. 

The supporting cast are largely excellent. Special mention to the Von Trapp children, notably Matilda Hennessy who brought a great energy to Louisa. The Curve’s ‘Community Company’ are incorporated into the ensemble at key moments with Team Hammerstein on duty for press night. Jamie Chatterton’s Herr Zeller was sadly fairly two-dimensional, owing largely to the Bond villain-esque eye patch. The performances of Sister Margaretta (Keanna Bloomfield), who was suitably bubbly, and a deadpan Frau Schmidt (Rachel Izen) were both highlights. Faye Brooks plays the Baroness almost cartoon-like, as a casual alcoholic.

Perhaps the most ambitious aspect to the Curve’s reimagining of Rodgers and Hammerstein’s masterpiece is George Dyers new orchestrations and arrangements. Though I recognise the sincerity of new productions of classic musicals in seeking to bring something fresh to the table musically, Dyers doesn’t seem to believe in the mantra, “If it ain’t broke, don’t fix it.” (Perhaps with the exception of the orchestral Entr’acte in Act 2). Some of his orchestration changes were incongruous to this frustrated purist who considers Irwin Kostal’s film arrangements as preeminent. For instance, the handsy rendition of the quaint duet “Sixteen Going on Seventeen” begins with a quite unnecessary major seventh chord and paddles along largely as a Swing number. Notable absentees include the high soprano ending of “Do Re Mi” and the whole of “I Have Confidence” (omitted despite another film addition “Something Good” getting the nod).

The design choices during the classic “So Long Farewell” were a little puzzling: Gretel’s costume glasses (more toucan than cuckoo) and the use of black LED wands attempting either stars or fireflies were distracting, and I felt out of keeping with the rest of the scene. There was also the rather odd appearance of modern golden confetti released from the rafters during the wedding scene.

Fans of the film expecting to see (and hear) a carbon copy will leave disappointed, but overall, this Curve production delivers an endearing and fresh take on this staple of Musical Theatre. Rodgers and Hammerstein’s soaring melodies and witty lyrics remain centre stage, even with some unconventional musical and design decisions. It’s a powerful piece that’s worth catching over the Christmas period and will leave you with a grin on your face and hope in your heart!

4 Stars.