If you are a fan of musical theatre this truly magnificent cinemascopic production of ‘The Sound of Music’ is destined to become one of your ‘favourite things’ Curve has ever produced for the Christmas and New Year season show. It is a delicious blend of artistic wonderment, creative grandeur, vocal harmony and replicates the soul-stirring beauty of nature. Indeed, it is a very special production that is a total joy for the ears, eyes and soul. Emotionally captivating, the awe inspiring wedding scene sees happy tears running down the cheeks of many in the audience tonight. Visually and aurally it’s a proper breath-taking religious experience, if ever there was one. ‘The Sound of Music’ also has seriously adverse political undercurrents that echo much of the disturbing threats of a certain wannabe dictatorship in the USA today.

All photos credited to Marc Brenner.

A Mount Untersberg themed set with real trees stays on the stage throughout as a protective continuum and, via the genius of Michael Taylor’s design, we find ourselves transported to Salzburg’s Nonnberg Abbey, the von Trapp estate, a Third Reich adapted concert hall, and Maria’s attic bedroom during a thunderstorm, all fluidly achieved. The outdoor scenes are exquisitely acted out across the entire breadth of Curve’s super wide stage and are superbly directed by Nikolai Foster and choreographed with great creative expression by Ebony Molina. The grand high society evening dress waltz at the von Trapp home amply demonstrates the guests disparity between the Austrians who think Hitler’s Nazi Party Anschluss (a connection) between Austria and Germany is acceptable and those firmly against it. The re-orchestrated addition of a strongly percussive martial tone interspersed into the sweep and turns of the waltz music, combined with more aggressive movement from the dancers, is scarily electrifying. George Dyer, the ever- creative musical supervisor and arranger, works his musical magic once again and musical director David Doidge and his nine piece band remind us of the musical genius of Richard Rodgers, coupled with the lyrical sophistication of Oscar Hammerstein II. This ‘Sound of Music’ sounds brilliant.

In life, historically and that which is contemporary, one never knows what life may bring, both good and bad and sometimes suprises of an equally diverse nature literally appear over the horizon.

In the musical a chance occurs for the giddy and joyous postulant nun Fräulein Maria ( Molly Lynch) to leave the confines of the Nonnberg Benedictine Abbey to work in a large property with several young children currently overseen by their strict father Captain Georg von Trapp (David Seadon-Young). How’s that gonna work out? The last governess had live frogs put in her bed. Can Frau Schmitt (Rachel Izen) offer young Maria any sage advice?

Then there’s the looming threat of the National Socialist Party members taking over key administration and political roles in Salzburg and Austria destroying pre-existing times of peace and creating an unknown war torn future. Not everything in ‘The Sound of Music’ is sweet ‘Do-Re-Mi’ and ‘The Lonely Goatherd’ songs. Sometimes, as the Mother Abbess ( Joanna Riding), rather beautifully sings, we have to seriously consider having to ‘Climb Ev’ry Mountain’ and ‘Ford ev’ry stream.’ Saying that ev’ry song sung in this joyously wonderful production hits the notes perfectly.

Accompanying Michael Taylor’s extraordinary limestone outcrop styled set, spiralling towers, and period costume design, the musical experience would not be complete without appreciating Mark Henderson’s terrific lighting design and Nick Lodge’s epic sound design. All combined they remind us what an incredible and moving experience live theatre can be. Then there are the invaluable supportive elements from front of house to back stage to fit up crews, the invaluable stage technicians, press and marketing and many more… Die Liste ist endlos. The list is endless.

In Austria there is a saying which goes ‘Wenn es nicht kaputt ist, repariere es nicht.’ If it ain’t broke don’t fix it. Well that sound advice has been followed to the letter by Curve’s casting sources. Last year they had great success in utilising the major talents of Molly Lynch and David Seadon-Young in the runaway critical triumph that was ‘My Fair Lady.’ This year these two top talents return to the Curve main stage in the lead roles of Maria and Georg. Songs ‘The Sound of Music’ and ‘Edelweiss’ are given great individual musical expression by them both and their acting is superb.

The original Maria Augusta von Trapp said that ‘A family which sings together stays together.’ and in this musical story played and sung out at Curve her expression rings totally true. The two main top drawer actors and all ‘The Sound of Music’ players seem like a very strong happy family. Their singing is joyous, often ravishing, and the nuns’ Preludium and Confitermini Domino Gaudeamus Domino Maria choruses are exquisitely achieved.

The von Trapp children are stupendously good tonight but, thankfully, without any over-the-top stage school performance nonsense. Another returnee to Curve’s stage is Aviva Tulley as Liesel von Trapp. She and Christian Cooper (Rolf Gruber) make a fine romantic pairing and their rendition of ‘Sixteen Going On Seventeen ‘ is thoughtfully and uniquely choreographed. All thoughts of them dancing precariously around a dilapidated bandstand can now be safely left in the archives of the film.The other von Trapp children alternate their roles and on press night we are blessed with Leo Hollingsworth (Friedrich), Matilda Hennessy (Louisa), Theodore Tratt (Kurt), Isla Granville (Brigitta), Georgia Riga (Marta), Mimi-Kamara-Clarson ( Gretl). All are a thrill to watch and listen to.

Other key roles worthy of note are Faye Brooks as the money grabbing – beautiful – but somewhat insincere Elsa Schraeder and Minal Patel as the likable entrepreneur Max Detweiler. Their lesser known songs, ‘How Can Love Survive?’ and ‘No Way To Stop It’ (also joined by Captain von Trapp) add more layers to the story. Mark Peachy makes a welcome return to Curve’s main stage as Franz.

The Curve Community actors play a strong part in most of Curve’s large productions and, as always, tonight’s company (Team Hammerstein) are a bunch of talented individuals and blend into the staged story like the consummate professionals they are. This is a stupendous staging of ‘The Sound of Music’ at Curve in Leicester and deserves to be a sell out. You might say (or sing) “The Tills Are Alive With The Sound of Bookings!”

PS: Even the little Christmas tree in the Curve box office is decorated with brown paper packages tied up with string!! Genius!

‘The Sound of Music’ runs at Curve until 17th Jan 2026