"The Sound of Music," show #912

The Berkeley hills are alive with the sound of music in a riveting production of the Rodgers and Hammerstein II classic. The opening night audience I was part of was more remnant of the rodeo crowds I’ve seldom been in space with (folks, please leave the sing-a-long inclinations to announced sing-a-long performances and film showings), but not without cause; it is a well-paced, very well-acted production. Led by a charismatic, efficacious Marah Sotelo as Maria, this musical is given room to breathe, especially where the Von Trapp family is concerned, and the vocal performances are abundantly terrific.

(Marah Sotelo (Maria); Photo credit: Ben Krantz Studio)

The Sound of Music is easily one of the more tried-and-true Golden Age musicals modern audiences simply can’t get enough of. While notably different from the Oscar-winning film, it honors the nostalgia while being deft, entertaining, and still offers a sobering shock value (people still don’t know–or forget?-- that some characters in the play align with the Third Reich). In the capable hands of director Dannzy Cozart, this production sings itself to success, whether in song or scene, never dragging, but being consistently engaging. Sotelo finds every bit of comedy in her take on Maria, and much to the audience’s satisfaction; it gives her Maria somewhere to go when the romance and dramatic developments take place. Her voice soars in the iconic title song and never lets up in her leading of “My Favorite Things,” “The Lonely Goatherd,” and in a beautiful “An Ordinary Couple” opposite a great Robert Lopez as Captain Georg Von Trapp. Lopez delivers less command and more compassion in his Captain, making true of the “still waters run deep” mantra as he shows his brooding from losing his wife and grappling with his developing feelings towards Maria, catching up on raising his children, and navigating the rapidly changing political and social climate of Austria. 

(L to R-Grace Margaret Craig (Elsa), Robert Lopez (Captain Georg Von Trapp), and Christopher Sotelo (Max); Photo credit: Ben Krantz Studio)

Supporting standout performances come from Christopher Sotelo as the spineless-yet-loveable Max, Grace Margaret Craig as an alluring-yet-calculating Elsa, and a charming, excellent-voiced Sam Canny as Rolf. “Sixteen Going on Seventeen” is a lovely duet sung by Canny and Grace Cedars as Liesl (the youth roles are double cast; the cast I saw was the Edelweiss cast). Cedars serves as a stalwart elder of the Von Trapp children, all who have their their moments of comedic, dance, and vocal talents featured. Alice Song, in particular, is a scene-stealing Gretl, handling the adorableness and personality the role offers like a pro. As a group, the Von Trapp children, Lopez, and Marah Sotelo deliver an emotionally stirring one-two punch of “Edelweiss” and “So Long, Farewell (reprise).” Rounding out the supporting standouts is Teressa Foss, who does fine work as Mother Abbess, singing the act one anthem, “Climb Every Mountain” with pleasing vocals.

(Crouching Downstage Right-Robert Lopez (Captain Georg Von Trapp), Standing Stage Right-Christopher Sotelo-Max, and the Do-Re-Mi Youth Cast; Photo credit: Ben Krantz Studio)

While Martin Flynn’s set design comes across as compact and a bit too universal in its scenic depictions when there are several grand locales called for in the script, Cameron Pence’s lighting does well in setting moods appropriate to each song’s vibe and each scene’s arc. Katie Dowse’s triple-duty efforts as costume, hair, and makeup designer are excellent cast-wide, giving vibrancy and personality to each role on stage, from the principals to the nuns’ uniformity and the ensemble’s elegance or militaristic identifiability.

(Downstage Center-Terresa Foss (Mother Abbess) with The Nun Chorus upstage; Photo credit: Ben Krantz Studio)

The Sound of Music remains a cozy, entertaining Golden Age gem, proving its relevancy regardless of the current political and social climate. It’s a comforting hug of familiarity while still giving a stern warning of the importance in holding to one’s principles rather than conforming or comprising out of desire to simply stay comfortable. Berkeley Playhouse ha s a great production which communicates these themes well, so do yourself a favor and buy tickets for the whole family to go see this show.