Berkshire on Stage

by Lisa Jarisch

With the Mac-Haydn Theatre season’s 3^rd offering, director John Saunders adds another gem to the collection of jewels in his directorial crown, as The Sound of Music fills the house of the theater, and the hills of Chatham, with a glorious production of this 60 year-old, multi award -winning tale of how love and music can thaw the most grief-frozen hearts and stand strong against the most dangerous threats to homeland and family.

This is a production without a flaw. From the leading roles, to the briefest appearance of party guests and soldiers, not a foot or a note goes wrong. Nuns of Nonnberg Abbey enter to the beautifully harmonized, pitch-perfect chant “Preludium,” children gambol gleefully about the stage, celebrating in song the returning love of their father and the burgeoning love between the Captain and the governess, first young love is celebrated in a quiet garden, and overall, the darkening clouds of Naziism begin to gather as it becomes increasingly clear there is “No Way to stop it”. The entire cast has clearly embraced the essence, the spirit and the meaning of this classic musical, and they put their heart and soul and not inconsiderable talents into every moment.

The moment she appears, arm-sweepingly rejoicing in a day spent in her beloved Austrian mountains away from the Nonnberg Abbey where she is a sincere but perhaps not best suited to the convent life postulant, Sarah Naughton begins to paint a vivid portrait of the joy-filled, life-embracing , music-loving Maria who will soon change the lives of the von Trapp family. Naughton’s soaring rendition of the title song immediately sweeps the audience into her world, and from this point on, we are all the better for being invited on her journey. A glimpse of the determination and courage that will stand her in good stead in the times to come emerges as she “girds her loins” to leave the Abbey by recounting “My Favorite Things” and steadfastly declares “I Have Confidence” on her way to her task as governess to seven children . Naughton delivers each number, each note, each lyric, with absolute confidence, and it is clear that her debut at the Mac in this role surely is one of her favorite things. She radiates joy, confidence, poise, and assurance every moment on the stage.

As the bereaved widower Captain Georg von Trapp , Eric Van Tielan strides onstage with a ramrod stiff spine and a steely-eyed glare that could make the audience recoil as surely as those under his naval command. His initial encounter with Maria provides both verbal and emotional sparks that foreshadow their growing attachment, and temporary futile resistance to the same, to come. Naughton and Van Tielan are a perfectly-matched “couple” in both acting and vocal talents, and their numbers together deftly reflect their burgeoning attraction. Even as Maria defiantly declares she “won’t answer to a whistle”, it is clear that the two are destined to share a lifelong “Sound of Music” together with seven children. Van Tielan’s voice is as strong as the character he portrays, never faltering in a musical celebration of his reawakened love for his children, and in defense of the Austria he loves. His voice throbs with the emotion he feels for his children,Maria, and his homeland in every number, from a joyous reunion with his children through a reprise “Sound of Music”, to joining with Maria to celebrate “Something Good”, to a heart-rending “Edelweiss” , as the pall of the Nazi party begins to drape itself over Austria.

Rachel Revellese brings a lovely luminescent quality, with magnificent facial expression, to her role as Liesl, the oldest “child” who, at “16 Going on 17” begins to discover and practice her blossoming womanly charms through her infatuation with Rolf, the telegram delivery boy. She delivers “16 Going on 17” in her clear, lilting voice, while maintaining her balance and position on a swing (!), and brings a charming element of young womanhood to her performance.

The Mac has double -cast the roles of five von Trapp children with two groups of local talent, who will alternate performances through the run. At the evening performance on Opening Night, the G.O.A.T.S. (Greatest of All Time) contingent embraced their roles with exuberance, performing to perfection, with palpable joy radiating from their voices and their presence on stage. From the moment they collectively burst onto the stage in response to their martinet of a father’s strident whistled summons, they captured the hearts of the audience as quickly as they soon captured the heart of new governess Maria. Watching their utter delight in discovering the joys of music in “Do Re Mi” , you can almost believe this IS the very first time they have been introduced to the wonders of musical notes, and the magic they can create, and by the time they gather with Maria to divert themselves from the terrors of a nighttime thunderstorm with a rollicking, utterly charming rendition of “The Lonely Goatherd”, they held the audience in the palm of their collective hand. As they bade “So Long, Farewell,” to the party guests gathered at the estate, many an audience member waved them off with a round of well-deserved applause for their performance.

From Brigitta’s almost Greek chorus-like observations, to Gretl’s adorably slightly lisping conversation, Louisa, Briggita and Marta’s sisterly bickering banter, and with Friedrich and Kurt adding a touch of boyish enthusiasm and occasional sibling disdain for their sisters, each performer imbued their character with personality, individuality, and a professionalism beyond their collective years. There is not a doubt in my mind that the G.O.A.Ts counterparts, Maria’s Mischievous Misfits, are as dedicated, well-rehearsed and enthusiastic as the happy band who shared their talents at this performance. If the performances of these young thespians who Saunders has collected are a portent of any kind, the future of live theatre is in most excellent hands and feet and voice with this next generation of up and coming performers.

As Baroness Elsa Schraeder and Music Producer/Would Be Impresario Max Detweiler, Liz Gurland and Arthur Beutel, respectively, bring a depth of performance to their roles. Their efforts to persuade Georg to accept the inevitable arrival of Nazi regime are given voice in “No Way to Stop it,” as it becomes increasingly clear that the two are essentially self-preservationists, willing to sway whichever way the political wind may blow in order to preserve their way of life, and perhaps even their very lives.

As the surely-familiar von Trapp story continues briskly apace thanks to Saunders’ masterful and tightly-woven direction, “Climb Ev’ry Mountain” is the soaring climax to Act 1, and is gloriously performed by Alex Haines as Mother Abbess. She enthralled the audience with her stunning delivery of this classic signature piece, reinforcing in song her advice to Maria to return to the von Trapp household to face her destiny and her future with strength, honesty and the love she must admit for the man from whom she has run away. Haines’s voice filled the theater in increasing volume, throbbing with emotion and, hopefully, bringing tears to more than just the eyes of a particular critic who shall remain nameless. A perfectly-angled spotlight and gentle haze effect bathed her in an angelic light, perfect for the beautiful moment created by Haines. It was also a joy to listen to her engage in song with Naughton earlier in the act with “My Favorite Things,” and her lovely voice blended with, and indeed, sometimes led ,the perfect harmonies, whenever the nuns offered up hymns and chants throughout the production.

Ofer Gordon deserves to be recognized for his initially innocent, but increasingly menacing, portrayal of Rolf, the somewhat hapless telegram delivery boy smitten with the 16 Going on 17 year old Liesl von Trapp. His gradual but definite “disintegration” from carefree youth to rabid follower of the Nazi regime draping its perfidious pall over a hapless and helpless Austria was thoughtfully and subtly played. He delivers the now universally-despised Nazi salute with a stern “Heil!” at several critically As he sinks deeper into the clutches of the advancing Nazi party, discovering Liesl in the convent gardens provides a gasp- out -loud moment of heart-stopping drama ; with impeccable timing, Gordon builds the suspense until finally showing perhaps one last moment of humanity and compassion, reporting “No one here!” to the zealous Nazis desperately seeking the traitors to the Fatherland.

The entire ensemble cast of nuns, party guests, and soldiers commit themselves wholeheartedly to supporting the lead performers and the overall production. As Frau Schmidt and Franz the Butler, Kassi McMillan and Jake Koch acquit themselves well, and Jerome Byrne is especially effective as a menacing Herr Zeller, Regional Leader of the Nazi party for the Salzburg area.

Ultimately, the sound of pounding boots would seem to spoil any hopes of a fairy tale ending for the award-winning von Trapp Family Singers at the Kaltzberg Music Festival, where Captain Von Trapp bids a veiled farewell to his homeland with a tribute to Austria’s national flower. Van Tielan offers a haunting and moving rendition of “Edelwiess,” NOT, as many may assume, a traditional Austrian folksong, but rather written especially for the original musical. As he falters with the emotion of knowing he is being forced to leave the country he loves, Naughton steps up to his side to physically and vocally support him in showing his loyalty to his beloved Austria, A lovely musical moment.

Yet all ends –quite literally—on high notes, high steps, and high hopes for tomorrow. Saunders’ deft and detailed direction, combined with Gmoser’s lighting creates a stunning, striking finale, as the stage, plunged into total darkness, is first shattered with the harsh glare of flashlights piercing the night as the von Trapps are hunted down. After taking refuge at the Abbey, sheltered and hidden by the nuns, the family finally begins their upward climb of every mountain, fleeing to freedom over Maria’s beloved Alps. Black velvet night becomes brilliant with starlight streaming from every side, lighting their way as the cast literally walks off the stage and up into the house. A moving reprise of “Climb Every Mountain” by the nuns echoes and swells through the house, accompanying the solemn and steadfast departure of the von Trapp Family. And THAT, my theater- going friends, is the way the finale to this beloved classic should be done.

With standard Mac-Haydn style and aplomb, the technical quality of the production is as noteworthy as the performances of the cast. Andrew Gmoser’s lighting is nothing short of “spot on” perfect in all respects, always enhancing but never over—or under!–shadowing the action. From a softly glowing interior of Nonnberg Abbey, to a romantically lit garden terrace, a governess’s bedroom, and a ballroom , Gmoser creates the ideal lighting for each and every scene. Especially noteworthy is the exquisite, ethereal atmosphere he creates for the duet“ Something Good”, which is tenderly and lovingly delivered by Naughton and Van Tielan on the terrace of the von Trapp estate.

Alivia Cross’ scenic design captures the essence of pre-war Austria, from the opulence of the von Trapp household, with its “marble” columns, framed paintings and lighting sconces surrounding the walls of the stage and house area, to the austere yet palpably quietly spiritual Nonnberg Abbey, down to the topiary, stone benches and delicate table on the terrace.

Dirndls and Lederhosen abound in Angela Carstensen’s costuming, as well as Maria sporting the latest in latest postulant wear, and of course, the recycled from curtains with plenty of wear left in them outfits for the soon-to-be famous von Trapp family children. The men are appropriately clad in 1938 suitwear and tuxedos, while no one could quarrel with the authenticity of the Nonnberg Abbey garb in which the nuns are clad. The presence of Nazi armbands and other Nazi regalia adds an authentic and chilling touch as soldiers and Nazi officers begin to dominate the landscape. Baroness Elsa is dressed to the excess she both demands and is determined to retain, in glittering gowns, dripping jewels and literally rich colors of gold and silver.

The musicians, under Eric Shorey’s direction, with the assistance of Alessandra Alcala, ably support the production without overwhelming the dialogue or the vocal numbers, which is a goal not always accomplished.

Before the von Trapps say “So long, Farewell” for their last performance on July 30, do not miss the opportunity to climb every mountain, or perhaps, in light of recent flooding rains, ford every stream, and treat yourself to the glorious sounds of music echoing over the hills of Chatham. To see the next generation of treading the boards with such precision, professionalism and sheer joy is worth the price of admission alone, but the entire production is truly not to be missed by any lover of this beloved musical.

The Sound of Music runs through July 30 at the Mac-Haydn Theatre in Chatham, NY. Music by Richard Rodgers. Lyrics by Oscar Hammerstein II. Book by : and Russel Crouse. Suggested by The Trapp Family Singers by Maria Augusta Trapp. Directed by John Saunders. Music Director Eric Shorey. Assistant Music Director Alessandra Alcala .Choreographer Elizabeth McGuire. Lighting Design Andrew Gmoser. Scenic Design Alivia Cross.Costume Design Angela Carstensen. Sound Design Sean McGinley. Props Design Adriana Ayala. Wig Design Emily Allen. CAST: Sarah Naughton (Maria Rainer), Eric Van Tielan (Captain Georg Von Trapp), Alexandra Haines (Mother Abbess), Liz Gurland (Elsa Schraeder) , Arthur Beutel (Max Detweiller), Rachel Revellese (Liesl), Ofer Gordon (Rolf), Aidan Brennan (Friedrich). The Von Trapp Children. Performing in rotation “Maria’s Mischievous Misfits” : Molly Engelhardt (Louisa), Jack Holick (Kurt), Remy Orth (Brigitta), Adelaide Black (Marta), Tegan Waters (Gretl). “The G.O.A.T.s (Greatest of All Time)” : Riley O’Kane (Louisa), Emmett Mazurowski (Kurt), Quinn McCarthy (Brigitta), Makayla Shores (Marta), Charlotte Miller (Gretl) Emily Allen (Sister Margaretta), Judith Wyatt (Sister Berthe), Amber Mawande-Spytek (Sister Sophia) Jake Koch (Franz), Kassi McMillan (Frau Schmidt), Jerome Byrne (Herr Zeller), Belle Babcock, Neal Bechman, Ricky Dobbs, Stephanie Prestage, Allie Seebode, Taylor Sheppard, Trevor Squires, Matthew Harper Stevenson (Nuns, Party Guests, Soldiers)

The Sound of Music runs July 20 through July 30 at the Mac-Haydn Theatre 1925 Route 204, Chatham, NY 12037 518-392-9292. Running time is 2 hours and 45 minutes, including 1 intermission. http://www.machaydntheatre.org/