![]() Buckholz and Folsom have given them life in this production. So often the children are simply marched into various choral positions and left to recite their parts. Choreographer Heather Paige Folsom’s work here and throughout the entire production is joyous. Sina is believable as an innocent noviciate from Nonnberg Abbey and her growth throughout the play seems a natural progression.Īudiences will be pleased that Buckholz has included the oft-cut waltz between Liesl and Rolf, Matthew Brennan, that accompanies Sixteen Going on Seventeen. The fact that Sina and Brittany Carricato, who plays eldest daughter Liesl von Trapp, are so close in age creates an interesting dynamic by emphasizing Maria’s positional authority. She doesn’t have Andrews’ high notes (who does?), which also means she takes less of a star turn this gives the entire production the strength of ensemble. For one thing Kelly Sina’s Maria is a coloratura rather than a lyric soprano. ![]() ![]() Director Lee Buckholz, however, has chosen a company of triple-threats–actors who are also strong singers and dancers–in an attempt to realize the show’s full potential.īucholz has also avoided to temptation to model his production on the iconic 1965 film version starring Julie Andrews. How do you solve the problem of over exposure? When everyone knows the story and the songs how do you create a fresh production that is more than a recitation? It isn’t easy and many productions of the Rodgers and Hammerstein classical musical The Sound of Music never leave base camp.īecause of limited resources and availability of performers small theatres often choose to focus their productions heavily on the incredible music, pushing the drama into a secondary position and ignoring the movement inherent in the story. Rodgers & Hammerstein’s “Sound of Music.” In the Derby Dinner Playhouse production of Debbi King-Raque as The Mother Abbess and Kelly Sina as Maria
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