A Feast for the Eye and Ear

The Sound of Music

Like me, over the past ten years ardent theatergoers in Chicagoland have undoubtedly experienced at least one or more production of this, Rodgers & Hammerstein’s beloved musical. It seems like we’ve recently been over-saturated by this show. It’s understandable, because the musical is a popular, heartwarming, captivating and tuneful story that’s perfect family entertainment, especially around the holidays. The play also carries a deeply moving, heartfelt message. But I’m here to tell you that even if you’ve seen this musical a dozen times in the past, you have never experienced the grandeur, power and majesty of this story in the way that Paramount Theatre is currently presenting it.

This production is an absolute feast for the eye and ear. Directed and choreographed with sensitivity, and an astute eye for the big picture, Amber Mak returns to Paramount to expertly guide this absolute knockout of a show, much in the same way that she skillfully navigated musicals like “Beauty and the Beast,” “Elf” and “Hairspray.” This “Sound of Music” is musically lush and visually lavish. Every single member of this large, gifted cast offers only truthful, introspective, well-thought performances. Each song, accompanied by musical director Kory Danielson’s brilliant 17-piece pit orchestra, seems to evolve naturally out of the emotions of each character. 

Just when I think I’ve seen Jeffrey D. Kmiec’s finest work, this Award-winning scenic designer amazes me with his talent and theatrical skill. Kmiec has outdone himself with this production. His sets are spectacular, realistic and absolutely jaw-dropping. Each structure appears to be actually constructed from stone, brick, wood and vast panes of stained glass. Every location is dressed with flowering plants, twisting vines and small bushes and trees. The vast Alps mountain range background is  omnipresent and breathtaking, there to provide inspiration, comfort and beauty to the characters. Experiencing this production is like taking an actual trip to Austria. Jose Santiago masterfully lights this production by incorporating all kinds of illumination. He paints Kmiec’s authentic-looking locales with Alpine sunshine, romantic moonbeams, the ferocity of a thunderstorm (greatly enhanced by Adam Rosenthal’s impressive sound design), the glow of candlelight and the danger of mysterious shadows around Salzburg’s Nonnberg Abbey. And, enhanced by Katie Cordts’ wig, hair and makeup design, Theresa Ham has designed and constructed some of the most beautiful, finely tailored costumes these characters have ever worn in any production. 

For the one or two audience members unfamiliar with this classic from Broadway’s Golden Age, this musical was written by the prolific team of Richard Rodgers & Oscar Hammerstein II (“Oklahoma,” “South Pacific,” “The King and I”). The show opened in 1959 and starred Mary Martin as Maria. It was based upon the lives of the actual von Trapp family, adapted from Maria Rainer von Trapp’s 1949 memoir. The musical has always been a popular offering for theaters because it tells an inspiring, heartwarming story and is filled with lovely music. Then, in 1965, the gorgeous, immensely popular 1965 film version hit the silver screen. It starred the lovely and talented Julie Andrews as Maria and renewed the public’s love for this musical. The movie is still being shown regularly on television and there are also live singalong showings held everywhere.

As previously mentioned, this cast couldn’t be more accomplished and appropriate to each role. The glorious vocal gifts of Alicia Kaori are only surpassed by her total commitment to the character of Maria. Watching Ms Kaori evolve before our eyes is a wonder. She continually grows throughout the production, changing from shy Postulant to self-confident governess and, eventually, into a loving wife and mother. Ms Kaori is simply remarkable. But that voice! Alicia is a superstar and should only be cast in leading roles from now on. Hopefully Chicago audiences will be seeing more of her talent in the future. 

She’s matched, note for note and scene for scene, by the excellent Christopher Kale Jones, as Captain Georg von Trapp. I’ve never seen a better portrayal of this character in any production anywhere. Jones has a glorious voice that soars, both in solos, duets and in choral numbers. The calm, cool demeanor this accomplished actor brings to the Austrian military hero at the start of the play reveals a man whose life has lost its spark, with the death of his first wife. But as Maria fills his home with music, love, wisdom and light, this rigid, ramrod of a man slowly begins to soften and reflect. And, as the play progresses, we witness this character once again becoming the kind, gentle and loving man he once was. Both Maria and the Captain’s transformations are not only realistic, but a masterclass in fine acting.

Every other actor/singer in this production is stellar. Veteran musical theatre actress Susan Moniz is wonderful as The Mother Abbess. In addition to having one of the most beautifully trained soprano voices in the nation, Ms Moniz plays this character as a human being, with real feelings and subtle weaknesses, as well as with lots of intelligence and strength. Watch Susan’s face as she listens to Maria reminding her of “My Favorite Things.” Feel your own heart swell as Ms Moniz offers soulful guidance to Maria, and later her entire family, as she counsels them to “Climb Every Mountain.” Get ready for the goosebumps and tears to burst forth as The Mother Abbess’ voice soars to the Heavens in every song she sings.

The entire company of nuns, headed by Chicago superstar 

actor/singers Sophie Grimm, Harriet Nzinga Plumpp and Liz Pazik, open the show with a mellifluous sound that fills the huge Paramount Theatre and makes the rafters ring. Their collective performance of “Preludium,” “Morning Hymn” and “Godeamus Domino” that evolves into “How Do You Solve a Problem Like Maria,” and, eventually, into Maria’s lovely title song, couldn’t sound better. 

Captain von Trapp’s seven children are all incredible. They sing, dance, march and act with vim and vigor. But lovely Julia Aragon’s Liesl is simply exquisite. I predict this gifted young performer, who’s “Sixteen Going on Seventeen,” will one day be playing Maria herself, along with many other leading roles. She’s coupled with the talented Michael Harp, who’s no stranger to “The Sound of Music.” A few years ago he played Kurt in the Lyric’s astounding production of the musical and he won the audience’s heart as Michael, Billy Elliot’s young gender-bending boyhood friend. As Rolf, he makes a great love interest for Ms Aragon’s Liesl.

The remaining six von Trapp children, who are all double-cast, are all played with impish spunk and childish joy. Each child is an individual and, in the hands of these gifted kids, are portrayed as such. Friedrich is played by Gage Richey/Brody Tyner; Louisa is portrayed by Maddie Morgan/Kara Rivera; Marta is played by Avalyn Choi/Savannah Lumar; Gretl is portrayed by Ava Barabasz/Lena Soszynski. To me, the standout children were Kurt, as played by Ezekiel Ruiz, although Charlie Long plays the role at some performances. And, particularly Milla Liss’ layered and honest portrayal of Brigitta, played at certain times by Genevieve Jane, was the most authentic and realistic.

The supporting cast includes Emilie Lynn, as self-centered socialite, Elsa Schraeder; the always delightful Stephen Schellhardt, as musical entrepreneur and comic relief, Max Detweiler; Ron E. Rains as the stern butler, Franz; Rengin Altay as the staunch housekeeper, Frau Schmidt; Josh Houghton as bullying Nazi, Herr Zeller; Michael Kingston and Nellie Shuford as the Baron and Baroness Elberfeld; and Michael Ehlers as powerful Nazi commander, Admiral von Schreiber. A talented chorus of additional singers and dancers make up the party scene, the scenes at the Abbey and the various characters at the Festival Concert.

Amber Mak’s warm, very human production of one of the most-produced musicals of all time, is filled with eye-popping spectacle and childlike wonder. Every single character is a real person and exudes a realism and honesty not always found in other productions of this show. “The Sound of Music” would make an excellent first musical theatre experience for young audiences, but it will also greatly impress veteran theatergoers with its abundance of musical and dramatic talent. Ms Mak has  created a wonderful production, just in time for the holidays, that exudes feelings of family, musical and technical artistry and hope. My sincere advice to audiences is to climb every mountain standing in order to see this glorious production of a true American classic. There will never be another version of “The Sound of Music” like this, and the show is bound to be one of your new “Favorite Things.”      

Highly Recommended

Reviewed by Colin Douglas

Presented November 9-January 14 by Paramount Theatre, 23 East Galena Blvd., Aurora, IL.

Tickets are available in person at the box office, by calling 630-896-6666 or by visiting www.paramountaurora.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.