The Sound of Music as presented by Kilkenny Musical Society

The Sound of Music as presented by Kilkenny Musical Society: 

Friday 19th April 2024. 

Back to my childhood I was transported, tonight, to memories of my first ever show, playing Kurt in The Sound of Music, which is why it holds a special place in my heart, and it was such a pleasure to watch Kilkenny Musical Society making such a good job of it, in the lovely Watergate Theatre. 

Director, Simon Manahan, offered us a straightforward, extremely tidy, well-paced show that relied of a combination of very steady performances and a very picturesque setting. The set for this production was very eye-catching, with a beautiful Alpine projection centre stage, stairs coming from off left and right, beautiful reversible pillars, one side of which became the Abbey columns and the other, pillars in the Von Trapp mansion. Added to this was nicely cut framing and various other hanging pieces that created a kind of photo image of the scenes. The frequently used gate pieces were very effective. The movement of columns, rails and other set pieces was handled quite brilliantly by the Housekeeper and staff of the Mansion, and a well drilled crew, under stage manager, Bill Molloy. It was all beautifully painted and most attractive. Simon also gave good attention to the pace of the show, and in most cases, a good realization of the characters. 

Rachel Leydon played the part of Maria with a heap of energy and a very nice vocal quality. She was very comfortable with the children and led them well in their songs. She also played her scenes with the Mother Abbess with good sincerity. While her relationship with the Captain began a tad too abruptly, it did improve a lot as the story progressed. Kevin Reade gave a very strong performance as Captain Von Trapp. During his early scenes he had a cold and uncompromising attitude, and it melted delightfully under the spell of Maria. His transformation was very credible, leading up to a spine-tingling rendition of “Edelweiss” at the concert. This was very moving and beautifully sung. Such a well-played role. 

Declan Taylor was a most affable and comical Max Detweiler, amusing in his play with the children, and quaint and quirky in his desire for self-preservation under the Nazi regime. Nicely played, and very comfortable in his encounters with the Baroness. Nicola Harding gave a touch of class coupled with a touch of superiority to her role of Baroness Elsa Schraeder. She handled her uncomfortable meeting with Maria with good comedy, and there was sincerity and a touch of sadness in her relationship with the Captain. There was good delivery of “How Can Love Survive” along with Max. Sarah Brennan was a heart-warming Mother Abbess, firm yet gentle, spiritual yet very aware of human frailties. There was real heart in her conversations with Maria, and her renditions of “Climb Every Mountain” were the musical highlights of the show. 

Liesl was beautifully played by Leah Comerford, capturing the youth and innocence of her character with that tiny glint of mischief as she flirted with Rolf. “16 Going on 17” was a very enjoyable number, contributed to so effectively by Ivan Kiely, as Rolf, who was equally charming and innocent at the outset, and then adopted the cold, stony attitude of the Hitler Youth. An impressive transformation. The final scene where Rolf and Liesl come face to face in the graveyard was tense and very touching. 

Mary Ní Chaoimh was a most enjoyable Frau Schmidt, not only as an efficient housekeeper with a good sense of humour and loyalty, but also in directing the house staff in the moving 

of set pieces. This was well-worked into the script and enabled smooth and speedy scene changes. 

Aidan O’Dwyer played the pleasant but ultimately treacherous butler, Franz, very convincingly. 

Niamh Kelly as Sr. Margaretta, Laura Dunphy as Sr. Berthe and Sarah Walpole as Sr. Sophia, were a great trio of senior nuns, playing their parts with good individual character, and blending well together in a nicely presented “How Do You Solve A Problem Like Maria”. Good work from all three in establishing their characters. 

Kevin Tynan exploded into the show slightly too aggressively as Herr Zeller. Even for a Nazi, I think he might have eased back on his tone as a guest at Captain Von Trapp’s party. His appearance in the second half was much more successful, where his aggression suited the circumstances. What a nasty character he was. 

Hugh Keenan and Nicola Brennan were a pleasant couple as The Baron and Baroness Elberfeld. 

The Von Trapp children, Harry Duffy as Fredrich, Ruby Burke as Louisa, Charlie Duffy as Kurt, Órla McCabe as Brigitta, Maisy Ryan as Marta and Laoise Reade as Gretl, made a very delightful and worthy contribution to the show, with good individual traits and some very nice singing and dancing throughout, led confidently by Liesl. 

The chorus of nuns had a good presence and sense of purpose in all of their scenes. Indeed, the show opened with a very disciplined, expressive and beautiful nuns chorus, led by the Mother Abbess, which epitomized the thorough work done by Musical Director, Jimmy Brockie and Musical Supervisor, David Hayes, in presenting a quality musical experience for the audience. The whole show was delightfully accompanied by a sensitive and very tuneful orchestra. Tempi throughout were just fine. 

With the exception of the party scene and Sixteen going on Seventeen, the show doesn’t lend itself to much adventurous choreography, but choreographer, Roisin Currid made a very good job of the routines with the Von Trapp Children, with good energy and well-presented patterns. The Landler was delightfully presented and performed, as was the children’s and chorus waltz, and Sixteen Going on Seventeen had quite beautiful steps and a good element of fun. 

Costuming throughout was good, from the children’s sailor suits to their curtained play clothes and their traditional Austrian outfits. The Baroness and Max and the Captain always looked dapper, and Maria’s postulant outfits were appropriately plain. She tidied up nicely in the mansion. Nuns costumes were all in order while perhaps the men should have had green German foot-soldier uniforms, or something akin to what Rolf was wearing, rather than the black SS officer uniforms. There were good fabrics and furnishings to dress the stage, and with a very nicely plotted lighting design, the stage always looked attractive and atmospheric. Complementing the other technical aspects of the show, the sound quality was also very impressive and nicely balanced. 

All in all, this was a musically delightful experience, with a beautiful set, and a nicely told story in the hands of an enthusiastic cast. This was The Sound of Music properly and correctly presented and enjoyed thoroughly by an appreciative audience.

Peter Kennedy

Gilbert Adjudicator 23/24

Photos by Al Craig