The Sound of Music as presented by Boyle Musical Society

Feb 4

Society name: Boyle Musical Society

Show name: Sound of Music

Adjudicator date of attendance: 22/11/2024

Brief overview of show and evaluation of Front of House

On a wet and rainy evening, St. Joseph’s Hall in Boyle presented a warm and inviting atmosphere that was most welcome. Friendly faces greeted the arriving audience, whose enthusiasm and excitement could not be dampened by the weather. The hospitality from the Front of House team added to the charm of the evening and set the tone for what was to be an engaging and enjoyable production. The buzz of excitement was tangible, and it was clear that this production had already brought the community together.

Director – Direction and Production

The direction of The Sound of Music by Vivienne Moran was commendable, with thoughtful use of space and creative staging choices. The decision to utilise the center aisle for the nuns’ procession and the wedding scene was particularly effective and added a refreshing perspective. There was evident attention to detail, especially with the smaller roles and featured chorus parts, which made the production feel dynamic and engaging. The comedic elements of the script were pulled out beautifully, and the lighter tone injected fun moments I hadn’t previously realized existed in The Sound of Music. This approach gave the production a unique and joyful energy.The Von Trapp children were handled with care, and each of their distinct personalities shone through—a testament to the Director’s work in developing their characters. Maria’s character arc, transitioning from carefree novice to confident governess, was delicately nurtured and portrayed with heart. Moments such as her confrontation with the Captain and her bond with the children felt particularly genuine and moving. The Director also skillfully balanced the show’s emotional depth with its moments of levity, ensuring that the production never felt too heavy. Overall, it was a production full of heart and joy.

Musical Director – Direction and Orchestra

Anne Kielty was the musical director, and it was a standout feature of this production. The singing, particularly from the ensemble of nuns, was nothing short of glorious. The opening unaccompanied chorus showcased stunning harmonies that were both impeccably balanced and beautifully blended. It set a high bar for the evening and immediately highlighted the society’s vocal strengths.

The orchestra was an absolute joy to listen to. The balance between the pit and the stage was finely tuned, ensuring that the music supported the performers without ever overpowering them. A particular mention must go to the brass section—their use of mutes to maintain balance was thoughtful and effective. The orchestra’s polished and nuanced performance added a professional quality to the production that did not go unnoticed.

Choreographer – Choreography

The choreography by Victoria Walker presented a mixed bag in this production. “So Long, Farewell” was a standout number. The clever and thoughtful choreography, particularly at the start, was well-executed and perfectly suited to the Von Trapp children’s characters and abilities. However, “Sixteen Going on Seventeen” felt a little over-ambitious for the performers. A simpler, more grounded approach would have allowed them to focus on character connection rather than the movement itself. Similarly, the ballroom sequence appeared to push the performers beyond their comfort zone—a simplified routine could have been equally effective while ensuring confidence in execution.In “How Do You Solve a Problem Like Maria,” there was noticeable scope for additional movement or formation changes. Some dynamic staging here would have added energy and visual interest to the number. Overall, while there were moments of brilliance, a more tailored approach to the performers’ strengths would have elevated the choreography further. In group scenes like the nuns’ procession and family escape, the restrained and deliberate movement choices were very effective, adding to the dramatic tension.

Leading Principals – Singing and Acting

Maria Rainer (Lizi Hannon): A lovely portrayal of the beloved governess. Hannon’s energy and warmth were evident from the moment she appeared. Her strong vocals, coupled with a genuine motherly presence, anchored the production. Her moment of falling in love during the dance was particularly touching.

Captain Von Trapp (Tom Nolan): A well-executed performance with a beautiful tenor tone. The stiff, reserved nature of the Captain was effectively captured by Nolan, with glimpses of warmth emerging as the story progressed. His emotional delivery during “Edelweiss” was especially moving and heartfelt, cementing one of the most poignant moments of the production.

Mother Abbess (Josephine Carroll): Unfortunately, this role felt under-rehearsed, with line delivery appearing uncertain at times. The accent was inconsistent, and while her classical voice was pleasant, the top notes posed a challenge. The overly familiar physical interactions with Maria, such as hugging, felt out of place for the time period.

Liesl Von Trapp (Rachel Bolger): A strong portrayal of the protective eldest sibling. Bolger showed maturity and confidence while still capturing the youthful energy of the character.

Frederick Von Trapp (Jake Reilly): The character’s awkward teenage persona was evident, though Reilly seemed unsure of himself at times. Greater confidence in his performance would have allowed him to stand out more.

Louisa Von Trapp ( Grace Hourican): Hourican had a warm and engaging presence. Her admiration for Liesl came through clearly, and her vocals showed potential with further development.

Kurt Von Trapp (Rian Wynne): A cheeky and charming performance. Wynne brought wonderful energy and blended seamlessly with the group as any good middle child would.

Brigitta Von Trapp (Elena Greene): A true firecracker! Green’s comic timing was excellent, and she delivered cheeky moments with confidence and charisma. Her voice was strong and clear, making her a standout performer.

Marta Von Trapp (Tess McDermott): McDermott’s facial expressions were a delight to watch. She was never without a reaction and added delightful moments, even off-script.

Gretl Von Trapp (Emma Doherty): A charming portrayal of the shy youngest sibling. Doherty confidently held her own throughout and never faltered.

Supporting Roles – Singing and Acting

Max Detweiler (Diarmuid Beirne): Beirne has excellent comic timing and physicality. His performance was marred slightly by an inconsistent and distracting accent. His interactions with the Captain and Frau Schraeder were lively and entertaining.

Frau Schraeder (Fiona Madden): A wonderful embodiment of a wealthy, entitled lady. Her physicality and “looking down her nose” mannerisms were well-played by Madden. While her vocal performance was not the strongest, she delivered her numbers with confidence, ensuring that the character’s personality remained at the forefront.

Frau Schmidt (Aoife O’Connor): A standout supporting role and a perfectly balanced portrayal of efficiency, frustration, and exasperation with the Captain’s ways. O’Connor’s performance was understated yet impactful with impeccable comic timing.

Rolf Gruber (Oisin Dowling): Dowling is vocally strong, though physically a little awkward. Dance classes would benefit his confidence and physical presence on stage. With additional training in movement and stage confidence, he has the potential to develop into a more polished and engaging character.

Franz the Butler (Jacob Burke Tighe): The role of Franz felt underdeveloped, with a lack of clear characterisation. Greater attention to physicality, posture, and vocal delivery would help Tighe create a stronger and more distinct presence as the loyal but stoic butler.

Sister Margaretta (Ceara Conlon): Conlon’s soft understanding for Maria was evident throughout. She showed a kindness and a concern towards the novice that others didn’t.

Sister Sophia (Deirdre Feeney): Feeney remained stoically between the other two sisters, bending neither way, but always adhering to the rules. Caught in the middle she played the peacemaker well

Sister Berta (Emily Rooney): Rooney portrayed the Mistress of Novices as suitably prudish and straight laced. Her lack of tolerance for Maria was evident in her disdain. As was her frustration as Sister Margaretta’s kindness towards the flighty novice.

Chorus/Ensemble – Singing, Acting, and Choreography

The nuns’ singing was heavenly and undoubtedly the strongest point of the ensemble. Their harmonies were stunning, and they set a beautiful tone throughout the production. Individual character moments were a nice touch, particularly during the aisle entrances, which added personality. The family escape scene brought the ensemble together in a moment of quiet, restrained urgency, which was highly effective. However, there were moments where efficiency in getting into positions was lacking, which occasionally slowed the pace of the production.

Stage Management & Set Design

The set design was visually impressive, with larger pieces cleverly doubling for multiple scenes. The period-appropriate design was well-executed overall, though some attention to detail—such as covering gaps in tall set pieces and ensuring the drapes on the staircase were neat—would have elevated the visual impact further. Scene changes were slow at times, which affected the flow of the show. Streamlining these transitions would enhance the overall pacing.

Technical – Lighting and Sound

Lighting – While fairly basic, the lighting suited the production’s needs. The loss of a FOH light was unfortunate, but the LX operator did well to compensate. The focus on the stage extension was slightly awkward and would benefit from repositioning the lamps for future productions.

Sound – The balance between the pit and the stage was excellent. Voices were clear and blended beautifully. However, missed sound cues, particularly for entrances like the Butler’s, were noticeable and disrupted some moments.

Visual – Costumes, Hair, and Makeup

The costumes were superb and well-suited to the period and setting of the production. A particular highlight was Frau Schraeder’s elegant and striking wardrobe, which perfectly captured the sophistication of her character. The Von Trapp children’s costumes were equally delightful, adding charm and authenticity to the family scenes.

Hair and makeup were appropriately subtle and in keeping with the time period. The nuns’ simple styling matched the characters well, and the Captain’s military look was sharp and polished. The visual presentation of the production as a whole was both cohesive and effective.

Adjudicator’s Suggestions and Final Thoughts

Boyle Musical Society delivered a heartwarming and enjoyable production of The Sound of Music, brimming with charm, energy, and glorious vocals. The attention to character detail and clever use of space made the show a delight to watch.To further elevate future productions, I would suggest focusing on: