July 15, 2023 by Ife Oshun
With the North Shore Music Theatre production of the classic Sound of Music, the poignancy and power of Rodgers and Hammerstein’s sonic legacy is alive once more. Under the musical direction of Milton Granger, Desi Oakley brings massive energy to the role of Maria, the guitar-toting governess who defies her recent-widower employer’s anti-music edict, and brings song-filled joy into the lives of his seven children.
Inspired by the true story of Maria Von Trapp, main character, Maria, a doe-eyed Nonnberg Abbey postulate, can’t seem to align her free-spirited ideals with her aspiration for a life as an obedient nun. Wise Mother Abbess (Janinah Burnett) sends Maria to live in the world for a few months as a prerequisite to committing to life at the abbey. Maria’s assignment: serve as governess in the home of Naval Captain Georg von Trapp (Joseph Spieldenner) who is desperately in need of yet another childcare replacement. It is then, against the backdrop of a 1938 Nazi-occupied Austria on the verge of World War II, Maria’s inner song ignites hearts and opens minds, particularly apparent in a touching rendition of “Do-Re-Mi” with the cast of adorable kids.
And while the music and vocals are heartwarming, the cold stage direction makes one wonder whether the job was farmed out to AI. Kevin Hill’s decision to make almost each cast member (over 35 adults and kids) hop onto at least one of a number of short statuary prop columns on the perimeter of the circular stage felt forced and devoid of character inner motivation. Spieldenner’s brilliant performance of “Edelweiss” barely survived further questionable direction which forced the actor, guitar in hand, to spin in a hapless circle while simultaneously singing and playing (and probably fighting vertigo). Wooden staging choices paired with lackluster twirling from Briana Fallon (making her choreography debut, clearly) cemented the sub-theme of disconnected, human movement juxtaposed with the overflowing emotion from book, lyrics and music.
Fortunately, Hill downplays the Nazi menace and creates space for soaring hope. Burnett’s ovation-worthy “Climb Ev’ry Mountain,” along with other classics such as “My Favorite Things” and “So Long, Farewell,” deftly moves the crowd, while the children’s stirring chemistry with Oakley even elicits tears. The near sold-out production is a testament that this classic story remains relevant in its depiction of the power of music and love in the face of hatred and adversity.
