The Sound of Music, Palladium

There certainly is Something Good

Andrew Lloyd Webber really seems to have it made when it comes to The Sound of Music. With every ticket sold for its entire run, a guaranteed queue of hopefuls every night, that resemble a soup kitchen, waiting for returns, and two of the most talked-about stars in the West End (Lesley Garrett and Connie Fisher), all he needed now was a cracking show to go with it. And, I’m pleased to say, he’s got it.

With the likes of Dirty Dancing, Footloose and Spamalot dominating the West End musicals’ scene at the minute, it is refreshing to see a good old-fashioned story for once. And Lloyd-Webber’s production does not attempt anything drastically original, but heartens us with its distinct lack of pretence. Its only real gesture towards the modern technological age is the stage’s huge, eight-tonne circular plain that looks like something extra-terrestrial. This platter of a mountain is dipped and raised as both Maria at the start and the entire Von Trapp family at the end hike across the Austrian peaks. It’s a very good idea, however, it does at times look more like a novel fairground ride.

Connie really does stand out, even with all the hype that has surrounded her since the day that she was announced as the new Maria on BBC1. She conveys the youthfulness that Lloyd-Webber was so adamant about getting, playing the governess as slightly gawky and bird-like. In the film of The Sound of Music, Christopher Plummer falling in love with Julie Andrews is not really a surprise. After all, who wouldn’t, especially when the Baroness Schraeder is such a cow. However, Connie’s quirkyness and awkward manner make her less of an obvious attraction for the Captain and consequently the story becomes all the more compelling. Fisher achieves a wonderful, spontaneous, cheeky rapport with the children, being prepared to make a bit of a prat of herself in front of them, as she runs, skips and throws herself rather too enthusiastically into Do-Re-Mi.

While Alexander Hanson may be a bit of a push-over as the Captain as he passively endures Maria’s criticisms with resigned acceptance like a pupil in a headteacher’s office, we nevertheless are able to see him thaw as he discovers his love for his children and, indeed, the governess. He has a uniquely pure and effortless voice and his rendition of Eidelweiss, I can safely say, is the most beautiful I’ve heard.

The children are a strong seven, though slightly more squeaky than harmonious, and the nuns provide rousing choral numbers, in which they filter up the Palladium’s aisles. As expected, Lesley Garrett’s Climb Every Mountain has the audience in raptures (although it was a shame about the almighty gulp down her microphone before she hit the final note). Her acting is also pretty dire, coming across more as a cockney Agony Aunt than the distinguished Mother Abbess.

Her fans seem unfazed, however, and in the curtain call, half the audience rise to its feet on Garrett’s entrance, the other half on Connie’s (with the exception of one lady who stood up for the Gestapo). In spite of the people nearest me evidently being Lesley Garrett fans, I persistently wait in my chair until Connie’s entrance to give her my roar of approval.

Having waited in that original queue of Maria open-auditions for six hours before giving up and going home, I am relieved now that I did accept defeat. Having seen Connie’s performance, I have to (very reluctantly) admit to myself that I am NOT Maria, and Connie most certainly is.

Anna Brewer : 07 Jan 2007 11:31 |  Comments (1) |  Report a problem