The Sound of Perfection | "The Sound of Music" @ BIH/Pantages

[cahwyguy]

Last night, we saw the touring production of The Sound of Music at the Pantages as part of the Broadway in Hollywood season. When the show was announced, my thought was “Not again. We’ve seen this old chestnut enough.” This is a show that we had recently seen (2024) in an excellent regional production at 5-Star Theatrical. Enough! But this production was so well performed, and the show itself is so well constructed, that we thoroughly enjoyed ourselves. It was also interesting that quite a few audience members had never seen the show, or only knew the show from the movie musical. So perhaps the time was right for the new tour.

I’m going to assume, at this point, that everyone knows the story. If you don’t, you can read the details on Wikipedia. Note that the original musical has some songs in a different place from the movie. The really short synopsis is young nun in Austria doesn’t fit in at the convent, is sent to be the governess of 7 children of an Austrian naval officer. She teaches them to sing and charms the britches off the Captain. He was set to marry a rich baroness, but a dispute about supporting the Germans as they advance into Austria, combined with the Captain’s growing love for the nun, sabotages that. The Germans take over Austria, and the Captain has to leave. They figure out a way to exploit a music festival to all escape over the mountains, thanks to the music festival promoter.

A few thoughts on the show itself, some of which are echoes from what I wrote back in 2024.

First, if I had to ask you to name a perfect musical, what would it be? I mean a musical where you don’t really need to change anything for modern audiences? A musical where the construction and staging and design has no flaws? A musical that is eternal with absolutely no way to “revisical” it. Only a few come to mind: Gypsy, Guys and Dolls, and Sound of Music. There’s precious little that can be changed about the presentation of the story.

The story is also timely. The LA Times recently had a story about how there are three revivals currently in LA of “old chestnuts” that are surprisingly relevant: Flower Drum Song, at East West Players, which we saw a few weeks ago; The Sound of Music, which we saw last night; and Brigadoon, which we’re seeing at the Pasadena Playhouse next week. Both Flower Drum Song and Brigadoon have been updated to address dated or problematic plot elements. The Sound of Music requires no changes.

All three are also relevant to the times. But I noted that regarding Sound of Music back in 2024:

This begs the question: Is The Sound of Music relevant today? Listening closely, it is. The situation presented in the show of the rise of Hitler and Germany in the backdrop of people that want to ignore it—of people who think they can just go with the flow and ride it out—has an eerie echo to the rise of Trumpian politics today. At one point in the second act, as the song “No Way to Stop It” is starting, the Captain questions whether there is any way to stop the Germans, whom he hate, from taking over his country? Austria may not have had that ability, but here in America we do have the one tool they didn’t have: The Ballot Box. This show is a reminder of what might happen if we don’t use the tools we have. We will have brainwashed legions enforcing their view of what we can think, of what we can say. It is clear from the messages in their shows—a hatred of racism, a hatred of indoctrination, a hatred of violence against women—that Rodgers and Hammerstein would have stood against Trump and his Project 2025 agenda. Could a timely revival of Sound of Music reinforce that message? It is an interesting thought.

The Sound of Music tells the story of a family that refuses to accept that facists are taking over their country. They decide to escape the problem by running away to America, because America was a place where facism could never take hold. Alas, in 2026, we’re seeing the facism and racism are taking hold, and we really don’t have a safe place to easily run away to… nor should we. We do have a way to fight, by voting in the upcoming election. I have done a ballot deep dive for the upcoming primary, and you can see it here.

Here’s a sad thought regarding The Sound of Music: There were a large number of children and young adults in the audience, and this was probably their first time seeing the show. For how many of them was there a need to explain what the Anschluss was, and why it was such a watershed? Rodgers and Hammerstein wrote this in the 1960s, when the horrors of Nazi Germany was still fresh in the minds of American; the war had ended just 15 years before. Today WWII is 80 years in the past. The last of those alive during the war are dying. The sight of a Nazi flag in a theatre was shocking in 1959. Today, similar ideas to those held by the Nazis are broadly promoted by the current administration, although targeting different groups. Do our young folks today remember and abhor what the Nazis did? Have they forgotten, and perhaps that explains the rise of Trumpism? The Sound of Music is a poor vehicle to teach about Nazi horrors; it only hints at the problem as the author’s assumed that the audience at the time knew it well. The Producers doesn’t teach it at all. There are plays that do (The Diary of Anne Frank), but plays don’t have the reach; however, musicals about the subject are doomed to failure (well, unless you’re The Producers).

Lastly, why does The Sound of Music keep coming back? You see it a lot more than you do R&H’s other perennial successes, Oklahoma and South Pacific, both of which also have relevance. I also answered this in 2024:

The Sound of Music is a great stepping stone for actors. The characters are known, people know the story, and because of this the performance can shine. Cabrillo/5-Star is well known for its ability to find and promote talent (I think that’s why it is so heavily supported by donors). I still remember seeing a young Katherine McPhee in a 2005 CMT production of Annie Get Your Gun; many other actors have gotten their start in Cabillo/5-Star productions. So, even though this is such a well-known show, I urge you to go see it. The performances are what make this production special.

That’s just a true for this Broadway tour. Let’s talk about some of the standout performances.

Let’s start with Cayleigh Capaldi as Maria, in her tour debut. She brought a load of personality and happiness to the role (although I think in that area the 5-Star Maria, Shannon O’Boyle, could have given her a run for her money). What struck me most about Capaldi was her voice. She kept making me think of Sutton Foster; if you closed your eyes, you might think it was Foster singing (and, speaking of Foster, she’s going to be the opening concert of the Soraya season. More on that in a minute). She had the voice; she had the humor. She was perfection in the role.

Then there was Kevin Earley as Captain Von Trapp. We’ve known Kevin for years: he was very active in the Southern California theatre community. I think we first saw and met him back in February 2006 when he was in It Came From Beyond; our friend Sheri was doing his website at the time. We saw him again in 2006 when he was in Johnny Guitar at La Mirada. We saw him in Empire: The Musical back in 2016. Most recently, we saw him in Old Friends at the Ahmanson in 2025. I swear, that man must have a mirror in his closet, because he hasn’t aged a day. He has one of the loveliest singing voices around, and he brought a personality and a playfulness to the Captain that I haven’t seen before. He also had astonishing acting and characterization—watch how he is checking the curtain during the concert numbers, and watch his facial expressions during his interactions with Max and Elsa.

Christiane Noll was spectacular as the Mother Abbess. Normally this is a role given to an older soprano who plays it very wooden. Noll brought play to the role—just watch her during “My Favorite Things” and some of her other scenes. She also has on of the best singing voices around.

Ariana Ferch was very strong as Liesl. In her tour debut, she brought a wonderful voice to the character; in later scenes, watch her playfulness and joy with the character on stage.

Nicholas Rodriguez was a strong Max; he has evidently played the Captain in other productions. He also had a wonderful voice and was having a lot of fun with the sardonic nature of Max. Watch him especially during his interactions with Elsa and during the Concert scene.

If there was a weak point (and it was a very minor one), it might have bene Kate Loprest as Elsa. She had the characterization down; but her voice seemed a bit wrong for the character: a bit too shrill, perhaps. But that is a very very very minor quibble.

Overall, the production was a delight (and there was no glitter cannon—a common complaint of mine). I also applaud the use of traditional scenic design: I could detect no use of projection, and there were no credits in the program for a projection designer. Far too often these days, stage productions overuse projection design, and this makes it a problem for shows to have a life past the Broadway production or subsequent Broadway tour. (Although, of course, for The Sound of Music, there is no question about there being post-Broadway productions. I don’t think it has ever been off the stage since 1959).

Yes, it is an old chestnut. But this is a well done production of The Sound of Music with spectacular performances, and is well worth seeing (if only to see Kevin and Cayleigh as the Captain and Maria). It continues at the Hollywood Pantages until May 24. Tickets are available through the BIH Ticketing Partner, and discount tickets might be available through TodayTix.

Credits

The Sound of Music. Music by Richard Rodgers. Lyrics by Oscar Hammerstein II. Book by Howard Lindsay and Russel Crouse, suggested by The Trapp Family Singers by Maria Augusta Trapp. Directed by Jack O’Brien. Choreographed by Danny Mefford.

Cast: Cayleigh Capaldi Maria Rainer; Kevin Earley Captain Georg von Trapp; Christiane Noll Mother Abbess; Nicholas Rodriguez Max Detweiler; Kate Loprest Elsa Schraeder; Anriana Ferch Liesl; Ian Coursey Rolf Gruber; Torben Mularski Friedrich; Skylar Matthews Louisa; Reece Boyle Kurt; Haddie Mac Brigitta; Berkeley Waluk Marta; Everly Beeson Gretl; John Adkison Franz, Ensemble; Corey Greenan Admiral von Schreiber, Ensemble; Jennifer Malenke Frau Schmidt, Ensemble; Daniel Robert Sullivan Herr Zeller, Ensemble; Blaire Eilene Baker Ensemble; Sydney K. Borchers Ursula, A New Postulant, Ensemble; Dylan Bradford Ensemble; Alli Echelmeyer Ensemble, Dance Captain; Hugh Entrekin Ensemble; Charlotte Jenkins Ensemble; Meredith Lustic Sister Sophia, Ensemble; Mark Bradley Miller Baron Eberfeld, Ensemble; Tess Primack Sister Margaretta, Ensemble; Lisa Rosetta Strum Baroness Elberfeld, Sister Berthe, Ensemble. Non-Ensemble Understudies: Brady Carville u/s Kurt, u/s Friedrich; Rory L. Prichard u/s Marta, u/s Brigitta; Tessa Mae Pundsack u/s Louisa, u/s Brigitta. Swings: Steven Grant Douglass, Ruthie Sangster.

Music Department (🌴 indicates local): Andy Einhorn Music Supervision and Additional Orchestrator; Robert Russell Bennett Orchestrations; Jonathan Marro Music Director, Conductor; John Miller Music Coordinator; Anne Van Steenwinkel Assoc Conductor, Keyboards; Griffin Strout Keyboards; Kyle Knepper Trumpet; Sarah Fazendin Violin, Concertmaster; 🌴 Jen Choi Fischer Violin; 🌴 Ira Glansbeek  Cello ; 🌴 Ian Walker Bass; 🌴 Jeff Driskill Flute, Piccolo, Clarinet; 🌴 Michele Forrest Oboe, English Horn; 🌴 William May Bassoon; 🌴 Emily Pesavento French Horn; 🌴 Aaron Smith Trumpet; 🌴 Charlie Morillas Trombone; 🌴 Danny Taylor Percussion; 🌴 Ryan Whyman Keyboard Sub; 🌴 Eric Heinly Orchestra Contractor; Hiro Iida and Ethan Deppe for Strange Cranium Electronic Music Design.

Production and Creative: Richard Rodgers Music; Oscar Hammerstein II Lyrics; Howard Lindsay and Russel Crouse Book; Jack O’Brien Director; Matt Lenz Assoc Director; Danny Mefford Choreographer; Mark Myars Assoc Choreographer; Douglas W. Schmidt Scenic Designer; Jane Greenwood Costume Designer; Natasha Katz Lighting Design; Kai Harada Sound Design; Tom Watson Hair, Wig, and Makeup Design; Trude Rittmann Dance and Vocal Arrangements; Leigh Zimmerman Intimacy Director; The Telsey Office Casting; The Road Company Tour Booking; Gentry & Associates General Manager; Kent McIngvale & Company Tour Press & Marketing; Jamey Jennings Company Manager; Elle Aghabala Assoc Company Manager; Brigham Johnson Production Stage Manager; Kali Ashurst Stage Manager; Megan Belgam Asst Stage Manager; Christine Tureta Tutor, Child Wrangler. “Something Good”: Lyrics by Richard Rodgers, Additional Lyrics by Jack O’Brien.

Administrivia

I am not a professional critic. I’m a retired cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson Theatre; BIH/Pantages; Pasadena Playhouse; The Soraya, Chromolume Theatre, and 5-Star Theatricals.

Want to find a show: Check out the Theatre Commons LA show list. Other good lists are the Theatre in LA listings; the TodayTix listings; OnStage 411 (use the “shows” drop down); and Theatermania.

I used to do more detailed writeups; here’s my current approach.

There were some interesting theatre and theatre-related announcements this week. First, the Pasadena Playhouse announced their 2026-2027 season. It’s pretty spectacular. The season begins with a new production of Friedrich Dürrenmatt’s tragicomedy The Visit, directed by Tony Award winner Darko Tresnjak and starring Jefferson Mays. The Visit was later turned into a musical by Fred Kander and John Ebb; but this is the play version. Next up is the long-awaited L.A. premiere of Passing Strange, the Tony-winning musical based on the life of L.A.-born musician Stew, directed by Tony nominee Zhailon Levingston. Passing Strange never toured after winning the 2009 Tony, so this is its LA debut. There is then a TBA winter production (hopefully better than last year’s Ha Ha Ha Ha Ha Ha, which was horrible). That is followed by Real Women Have Curves: The Musical, the musical version of the play we saw two weeks ago. This was on Broadway but did poorly and thus never toured; it is its LA premiere. Lastly, a revival of Tennessee Williams’ Pulitzer Prize-winning play Cat on a Hot Tin Roof, with Alfred Molina. We’ve already renewed our membership.

Also announcing last week was the Soraya, previously known as the Valley Performing Arts Center on the campus of Cal State Northridge. Can’t you just hear Vin Sculley saying “Isn’t it beautiful”. They have announced their 2026-2027 season. There is loads of good stuff this season. Notable for theatre folks is the opening show, Sutton Foster; in April, Audra McDonald will grace the stage. Along the way, there are shows such as Snarky Puppy with the CSUN “A” Jazz Band, Branford Marsalis and Dianne Reeves celebrating John Coltraine; a tribute to Gershwin and the Golden Age with the LA Jewish Symphony; the Dance Theatre of Harlem; Terence Blanchard and Ravi Coltraine; A tribute to Frank Sinatra with the Clayton-Hamilton Jazz Orchestra; the Emmet Cohen Trio; and much more. Music of all varieties, jazz, dance, pop, classical, and loads more. Those are just the shows we’re interested in. Memberships are also on sale.

Lastly, May saw the opening of ticket sales for the Hollywood Fringe Festival. There are over 2,150 performances; there are 439 shows listed in the show catalog. These all occur during the month of June, with multiple shows throughout the day. 20 minutes to move in; then the show; 20 minutes to move out. Ticket prices are low. The shows run the gamut, from totally strange to one person shows to full on short plays to musical reviews. You’re sure to find something you’ll like.

Upcoming

Key: ♦ Theatre / ♣ Music / ◊ Other Live Performance – Next 90ish Days (⊕ indicates ticketing is pending).

• May: ♦ Brigadoon at The Pasadena Playhouse; ♦ Fat Ham at Black Reperatory Theatre (St. Louis) ♦ Hells Kitchen at BIH/Pantages.
• June: ♦ Ain’t Misbehavin’ at Ebony Rep; ♦ Elegies at Chromolume; ♦ Primary Trust at CTG/Taper; ♦ Mamma Mia at CTG/Ahmanson.
• July: ♦ Mexodus at Pasadena Playhouse; ♦ The Wizard of Oz at 5-Star Theatricals; ♦ If/Then at Chromolume Theatre.
• August: ♦ Beauty and the Beast at BIH/Pantages;
• September: ♦ Water for Elephants at BIH/Pantages; ♦⊕ The Visit at Pasadena Playhouse; ♦ The Turning at Taper/CTG; ♣⊕ Sutton Foster at The Soraya; ♦⊕ Catch Me If You Can at The Colony Theatre; ♦⊕Every Brilliant Thingat The Main; 

This entry was originally posted on Observations Along the Road as The Sound of Perfection | "The Sound of Music" @ BIH/Pantages by cahwyguy. Although you can comment on DW, please make comments on original post at the Wordpress blog using the link to the left. You can sign in with your LJ, DW, FB, or a myriad of other accounts. Note: Subsequent changes made to the post on the blog are not propagated by the SNAP Crossposter; please visit the original post to see the latest version. P.S.: If you see share buttons above, note that they do not work outside of the Wordpress blog.