“Oh, of course you sing.  Everybody sings!”

I don’t exactly know why, but I’m usually pretty tough on lead actors.  If a show has a main character (or two), I’m maybe a little unforgiving.  Maybe it’s just because those shoes can be awfully big to fill.  It’s an important job.  Some soar, some flop.  But “pretty good” just won’t do when you gotta be Stanley Kowalski.

The Sound of Music offers some of theatre’s biggest shoes to fill.  Everybody’s seen the movie.  Plus, Julie Andrews.  I mean really – Julie Flippin’ Andrews.  There’s pretty much no girl hotter than Mary Poppins, is there?  Or does saying that make me weird?

Kristen Bowden Sharp & Children - How can you not smile watching someone jump on the bed?

In the Red Mountain Theatre Company’s production of The Sound of Music, there’s no danger of me talking bad about Kristen Bowden Sharp.  (Especially since I think I might’ve sat next to her Daddy…)  I already complimented her as “attentive and attractive” in an earlier piece.  It’s always fun to see the same actor in different roles because you get to see which personality parts change and which parts don’t.  The great voice is still there.  Plus, she brought a innate grace, elegance, and sweetness to each role.  If you’d asked me beforehand, I mightn’t have thought those qualities would’ve worked for a Maria that I normally think of as childlike, insouciant, and guileless.  But they did.  If you’re stuck with casting actors who are just like the original, more-famous version, it gets a bit creepy – like only dating people who look suspiciously like your ex.

As a complete digression, I keep wondering if the name “Maria Rainer” – The Sound of Music’s lead character – has anything to do with the poet, Rainer Maria Rilke?  I truly have no idea.  Any help?

Back to the “tough on leads” thing, I’ve often thought that it might be hard to find truly masculine leading men for theatre.  Especially for musical theatre?  George Dvorsky, as Captain von Trapp, works.  He’s stoic and military at first.  Then you get to watch as he becomes more warm, expressive, and personable.  His first smile of the evening is truly lovely.  But he’s always a significantly male and paternal presence.  Maybe it helps that he’s about a foot taller than this Maria, but she looks like she’s happily tipping straight back when it’s time to be kissed.

Even with all the talent of these leads and the cuteness of the von Trapp children, I gotta say that “Sixteen Going on Seventeen” stole the show.  When I take seven pages of notes, I can tell I like a performance.  Or sometimes if I’m too engaged in the show to take any.  But here are my verbatim notes on this song: “Sixteen on 17 – Easily one of the most adorable things I’ve seen on stage.  Liesl is great.  Good dance, good expressions – minus the lifts, out of character.  Deliciously awkward.  Really great.  He’s good too.  Rolf???  *expressive, expressive*  If you can’t shake your head CUTE, you have no business in theatre.”

Liesl is Katie Wesler – a fellow Shades Valley alumni – and she’s terrific.  Pretty, expressive, and she sings, dances, acts, and interacts.  Even her pink dress was excellent.  And Rolf’s performance (Collin Janich) is worth noting and provides a strong foundation.  Their number was great and reflected the wavering confidence and awkwardness of being thiser-teen going on thater-teen.  She’s great the rest of the show, too.

The von Trapp children are precocious and cute and they all have at least one moment.  A nice feature of the Red Mountain Theatre Company blog is a chance to read about these kids.

Finally, the show was at the Virginia Samford Theatre and I asked at halftime whether I could switch my seat and try out the balcony.  When I take someone new to the VST, they often ask “Who gets to sit up there?” or “What’s up there?”  It must be a common question.  And now I know.  It’s the Charles D. McCrary Patrons’ Balcony.  It’s every bit as chilly as I’d heard.  They keep the spotlights up there.  It’s only one row of seats.  But the chairs are much larger and softer than the cramped seats in the main theatre.  It’s really a whole different perspective and it’s different to be able to see right down into the orchestra pit.  You’re at about eye level with the rest of the lights.  And it’s cool to see all the pink and yellow tape all over the stage – completely invisible from the ground level.  If they could talk, I wonder what stories those tape marks would tell.  Almost makes me want to sell my truck and donate a couple thousand dollars.

Thanks to Nicole Smith, the Red Mountain Theatre Company, and Kim Dean Davenport (I think…) for admitting me.  This show was great in almost every way.  I still wish they’d prominently feature some photographs or video on the RMTC website.