THE SOUND OF MUSIC

730pm, Thursday, June 26
730pm, Friday, June 27
730pm, Saturday, June 28
2pm, Sunday, June 29

Countryside Community Theatre at
North Scott High School Auditorium
Eldridge, Iowa

www.cctonstage.org
563-285-6228

Tickets $10-$12
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As one of the best-known shows in all of musical theater, THE SOUND OF MUSIC has a storyline that virtually everyone already knows. The songs, by Richard Rogers and Oscar Hammerstein II, are also some of the most familiar in the musical theater canon.

The music, in fact, is so well-known that THE SOUND OF MUSIC is one of those musicals where it doesn’t matter too much how well the songs are articulated or if the sound quality is good – because we all pretty much know the words and could sing along.

Happily for the Countryside Community Theatre production of this beloved show, almost every word of almost every song can be heard distinctly. Director Tristan Tapscott and musical director Addie Campbell have put together a show where the company numbers are well-articulated, and where both Maria (Liz Millea, pictured, above right) and Captain Von Trapp (Pat Burr, pictured, above left) can be heard clearly throughout -- and provide vocals we're glad to hear. The best ensemble piece involves a wide arc of nuns that line the edge of the stage, delivering what is an almost a capella number – and it is simply beautiful.

Millea is great as Maria, lending every single song a fine soprano that sounds effortless. She brings a freshness and cheer to the role that is never chirpy or false, and she moves with an awkward loveliness – as though the young postulate has just recently reached her full height – that is perfect for Maria. Millea has a sunny smile that lights up her entire face, and she employs it here to great effect. It’s a truly wonderful performance.

Opposite Millea is Burr, whose Captain is unlike any I have ever seen. Rather than playing the role in the typical big and blustery way, Burr’s Captain is quiet and intense. He gives the role a deliberate air that is at least as unapproachable as the usual interpretation, and in general the different take is successful. I would have liked a more visible emotional reaction during "Edelweiss," it is true – but in truth that kind of public display might not really be authentic here. In any case, Burr’s portrayal worked well as a foil for Millea’s Maria, and made the Captain real enough for me to fully understand her attraction to him (which I usually don’t).

Supporting players Susie Schaecter (as Elsa) and Greg Bouljon (as Max) did not fare so well with sound levels at the performance I saw opening weekend, where most of both their numbers were not exactly audible. Schaecter especially gets in some nice footwork, but her character is also decked out in a suit that is several decades too new for the time period of the show – as is the 80s asymmetrical hairstyle she’s been given here.

All the young Von Trapps come across as real kids rather than as groomed-for-the-stage-since-birth, which is just as they should. Chelsea Crumbleholme is particularly cute as Brigitta, and Cara Chumbley makes a very good Liesl, showing off a great voice.

As for tech, Campbell’s orchestra sounds very good, too, and Jennifer Kingry’s lighting design adds several lovely depth to important scenes. Tapscott also often used the (very large) stage space well.

Not a perfect production, for sure, this SOUND OF MUSIC still has plenty of performances and other elements that make it a fine way to spend a couple of hours. With a soft-focus on the Nazi threat in the story, it is also age-appropriate for the whole family, too, so this might be the time to introduce the next generation to this enduring classic.

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