It’s hard not to like The Sound of Music. Rogers and Hammerstein’s instantly recognizable score has inundated popular culture with its catchy melodies and lighthearted joy since its Broadway debut in 1959 and become a musical theater repertoire juggernaut after its 1965 movie debut. Sometimes tunes like “My Favorite Things,” “Do-Re-Mi,” “Climb Every Mountain” and the show’s title song can obfuscate their context in the shadow of the Nazi invasion of Austria. Humboldt Light Opera Co.’s version, now playing at the Van Duzer Theatre, focuses on the family-friendly themes of falling in love, discovering one’s life path and nurturing children’s individuality, with the literal fight for survival only circumstantially in the background. While the grit and dramatic drive of the show is sanitized, the production successfully emphasizes its joy and allows the vocally gifted cast to shine with auditory bliss.
Maria (Fiona Gadd Ryder) commits to the nuns of Nonnberg Abby where her free-spirited nature is at odds with the sanctuary’s strict rules. The Reverend Mother Abbess (Cindy Cress) sends her to act as governess to the seven children (Paige Cress, Kara Cress, Stella Mielke, Emma Cress, Elin Strombeck, Maya Demireva, Eriko Jean Iris) of widower Captain George Von Trapp (James Gadd) to decide if monastic life suits her. While the captain smothers the children with militaristic discipline to cope with his wife’s death, Maria wins them over through her infectious love of music. As the children flourish with Maria, so does the captain. Ultimately, they are drawn to each other, to the chagrin of his would-be bride Elsa (Katri Pitts). This causes conflicting emotions within Maria. Meanwhile, Max (Tyler Rich), the captain’s friend, negotiates the Reich’s impending expansion into Austria and how to handle the captain’s distaste for them.
The Von Trapp children with natural playful spirits and the nuns with sweet harmonies and concert presence easily steal the show. Both inject a sense of excitement that boosts the production’s pace and professionalism. It is an absolute pleasure to witness. Director Carol Ryder’s choice to avoid the Nazi cloud that can permeate this production is valid, though the absence of character arcs with the captain and the overly optimistic disposition of Maria robs the audience of the ability to see the progression of their growing love. Their lack of connection culminates in a kiss that received gasps of surprise on the night I attended as opposed to a sweet “awwww” of an audience’s desire to see them together. Likewise, the second act lacks the urgency needed to evoke their fight-or-flight mode to escape Hitler’s presence — I never felt the fear for their lives, the need to protect the family nor the drive for the character’s self-preservation. A stronger chemistry and more notice of each other would help the show rise from the sedation of this dramatic tension. Still, we left the strong production humming familiar melodies and with smiles on our lips.
The production crew for HLOC is a tight-knit community, as evidenced by the elegant and cohesive aesthetics throughout the show. Steeped in the beauty of the live orchestra conducted by Larry Pitts, the light design (Santiago Menjivar), costumes (Sue Greene, Carol Ryder, Liz Souza), choreography (Tehya Tuttle, David Hendrickson, Katri Pitts, Kate O’Faolain) and set design (Carlene M Cogliati) work in tandem to create a magnificent harmony and believable world. The glory of beaded gowns, tailored suits, stunning play clothes made from curtains and thoughtful peasant designs display the mastery of the costumes. (Though do we really need blatant swastikas?) The lights feature the garments without oversaturating, though refocusing them to minimize the spill onto the animated projections could heighten the depth of beautiful sets. I am a glutton for use of a fly system. The magic of them in scene changes (especially with the orchestra) punctuates theater magic and changes momentum-stealing transitions into an awe-inspiring event. This production may have benefited from more of that.
This production is a welcoming family affair complete with disrespectful children creating more drama in the house than what is onstage. Yet, like the patient and loving mother seated in front of us, it reminds us that sometimes it is worth not focusing on the negative to reinforce joy, love and respect. Good job to both the production and the mother.
HLOC’s production of The Sound of Music continues at the Van Duzer Theatre through Aug. 16, with Friday and Saturday performances at 7 p.m., and Sunday matinees at 2 p.m. Visit hloc.org or call (707) 630-5013.
Tiggerbouncer Custodio (he/she/they) is an empowered queer Indigenous Filipino artist whose works have been seen on Humboldt stages and elsewhere.
COMING SOON
Redwood Curtain Theatre brings dark, small-town political satire to a city council meeting with The Minutes at the 5th and D Street Theater from Sept. 17-Oct. 10. Visit redwoodcurtain.com.
This article appears in BESTO! Best of Humboldt.