The Sound of Music as presented by St. Patrick's Choral Society

St. Patrick’s Choral Society 

The Sound of Music 

Friday 28th March 2025 

Set in Austria before the onset of World War II, ‘The Sound of Music’ is a classic musical with an enduring charm and uplifting score that transports many of us back to childhood Christmases, watching TV with family whilst tucking into turkey sandwiches. It has everything a good musical should have; romance, comedy and plenty of tension. And, of course, every good musical needs a chorus of singing nuns. Only, in the St. Patrick's Choral Society version, it was a case of all singing, all set changing nuns. 

The Great Hall in Downpatrick is a fabulous, historical venue with stunning acoustics and impressive interior architecture. As I waited to be shown to my seat, I took the opportunity to admire some beautiful artwork, with a theme of ‘My Favourite Things’, which had been created by local primary school children. A lovely way to involve the youth of the community. 

Gary Warnock returned to the director’s chair in Downpatrick after an eight-year sabbatical. There was wonderful ensemble business in a superbly put together opening sequence during the beautifully played overture, as Mr. Warnock created some clever and beautifully evocative pictures. Ensemble business was always very meaningful. There was great use of the two playing levels, which incorporated both the stage and the auditorium floor. Mr. Warnock did exceptional work with the very talented children of this cast, from their militaristic marching, which was perfectly in sync, to their exceptionally good characterisations. He ensured that the show was very slick with superbly fluid transitions from scene to scene. I did feel that more attention needed to be given to some characterisations and that more focus on the nuances of the script were required. I also felt that much more could have been done to develop the romantic tension between Maria and Captain Von Trapp. ‘So Long, Farewell’ was nicely staged with the children waving down to the guests on the auditorium floor from the main stage. Overall, a good solid job from Mr. Warnock, especially in his work with a very talented group of children. 

MD Wilson Shields presided over a nine-piece orchestra, conducting from his keyboard with great aplomb. Unusually for this style of show, the orchestra was visible on stage, but it really worked. The exceptional musicians guided us through a treasure trove of Richard Rodgers' classic musical numbers. There was a most gorgeous, perfectly balanced sound during the overture. Choral work was exceptionally good, from the nuns' wonderfully tight harmonies in ‘Preledium’, to the superb chorus sound of ‘The Lonely Goatherd’. There was great choral singing throughout, in spite of the limited opportunities the score provides for the ensemble to shine musically. Principal singing was very secure and there was wonderful balance in duets and trios. A superb job overall by the very talented Mr. Shields.

Alex MacFarlane, choreographer, did superb work with the children in this show. ‘Do Re-Mi’ was wonderful in its dynamic movement, which was fun and reflected the childlike innocence of the performers. ‘Sixteen Going on Seventeen’ featured Liesl and Rolf. Both were clearly excellent dancers. However, I felt that the number was over-choreographed. We should never come away from ‘The Sound of Music’ marveling at Rolf's dancing. I felt that it was too over-the-top and needed to be toned down to reflect Rolf's character. ‘My Favourite Things’ was another great number, performed so well by the children and I loved ‘The Lonely Goatherd’, with children as puppets, and the superb use of both performance space levels. 

Sara Kelly did very well in the iconic role of postulant-turned-governess, Maria. Overall, this was a very charming portrayal. Ms. Kelly was a lovely actress with a light comic touch necessary for the role. She had a fabulous rapport with the children and all of their numbers radiated joy and positivity. Ms. Kelly's scene with the Mother Abbess when she returned to the Abbey, was excellent; really well performed with just the right amount of vulnerability. Ms. Kelly’s crystal clear soprano voice was a joy throughout, especially when she let loose with her yodelling in ‘The Lonely Goatherd’ Overall, a really strong portrayal. 

Brian McElroy played the role of Captain Von Trapp. Mr. McElroy had commanding physical presence on stage. I did detect some nervousness and hesitancy on the night that I attended. At times, I felt that more thought needed to go into dialogue. The relationship between Captain Von Trapp and Maria needed more consideration. We should see the ‘defrosting’ of the Captain as Maria's spell takes hold. It is a journey central to the story, not just a moment. Mr. McElroy sang well in ‘Edelweiss’, showing his rich baritone very nicely in his strongest moment of the night. 

Jess Sloan was a wonderful Liesl. Ms. Sloan was a very strong actress, capturing the conflict between her inner child and her yearning to be an adult. She played the blossoming teenage romance with Rolf very well and sang beautifully in ‘Sixteen Going on Seventeen’. Ms. Sloan was also a strong dancer throughout, completing her triple threat in a very rounded performance. 

Jake Bennett played the role of Rolf. He too had strong presence but I felt that he needed to consider his lines more and think more about the subtext. ‘Sixteen Going on Seventeen’ showcased Mr. Bennett's lovely voice but his performance did need to be reined in a little bit, as I felt it was overly theatrical for the character. His final moment, in which he went against his political loyalties to allow the Von Trapps to escape, was very nicely played, giving us an insight into his inner struggle. 

Laoise Carney was a firm, but warm Mother Abbess. She was a superb character, very strong, and brought great gravitas to the role. Her scene with Maria when she returned from the Von Trapps was a heartfelt highlight of the show. Ms. Carney had a very impressive voice with a wonderful upper register. ‘Climb Ev’ry Mountain’ was a moving rendition, showcasing her wonderful vocal quality. A wonderful, well rounded performance. 

Sisters Berthe, Margaretta, and Sophia were played by Marissa McKittrick, Bronagh Reid, and Charlotte Warnock. This was a wonderful trio that produced an excellent sound in ‘Maria’ along with the Mother Abbess. I loved their quirky, energetic characterisations and their exasperation at Maria’s antics. 

Mel Carney was a very demonstrative Max. I felt that Mr. Carney needed more guidance in relation to cueing and pace, as scenes tended to drag somewhat at times. His accent wasn't always secure but he did sing very well, though, in ‘How Can Love Survive?’ 

Charlotte Warnock was a standout performer in the role of the scheming Baroness Elsa Schrader, Maria's love rival. Miss Warnock was a highly intelligent actress who brought nuance and layers to the role. Subtext and thought process were clearly evident at all times. She had a glorious soprano voice in ‘How Can Love Survive?’ There was a wonderful sophistication in her portrayal, contrasting greatly with Maria. I loved how she was always in character, always thinking, even when she wasn't the direct focus of the audience's attention. 

Donal Carney was a very strong Herr Zeller, playing the villainous nazi to perfection. His scene, as he ordered the nazi flag to be flown, was suitably tense, thanks to his intimidating portrayal. 

Marie-Therese Ross captured the wry comedy of housekeeper Frau Schmidt. She will have gained great confidence from playing this role, and I look forward to seeing her in more roles in the future. 

Alex Simpson, double jobbing as stage manager, played a very impressive Admiral Von Schneider with an excellent accent. 

Of course, many of the show’s highlights involved the well-drilled, enchanting and mischievous Von Trapp children, all with their own unique personalities.

Gretl was played by Caitlin Warnock; cute as a button. Skye Gracey was a feisty Brigitta. There was excellent work too from Jonah Kelly as Kurt and Alex Johnston as Friedrich. Eva Denver was a quiet Marta and Maya Kelly played the mischievous Louisa. The children were excellent in ‘Do-Re-Mi’, a super routine with sharp, precise moves, which was very well rehearsed.

They were equally good in ‘My Favourite Things’ and ‘So Long, Farewell’ was another memorable highlight. It doesn’t seem right to single anyone out from this talented group of children but I was particularly impressed by the intelligent acting of Skye Gracey, a real star turn and a young lady to look out for in the future. 

There was good support too from Aaron McElroy as the butler Franz, Tim Currie (not that one!) as Baron Elberfeld, and Amelia McKeown as Ursula. 

There was a very strong and committed ensemble. Their movement and business was always meaningful, from the excellent opening sequence during the overture, which was a visual delight, to the wonderful group of nuns in the Abbey. There were lovely cameos from ensemble members also and I particularly liked the second and third prize recipients at the concert who brought a great sense of fun to proceedings, with some much needed levity amidst the tension of the moment. 

Not content with just playing the Admiral, Alex Simpson was equally successful as stage manager. He utilised cast very cleverly to carry out most scene changes and this worked very well, with nuns moving the large pillars and servants setting and striking furniture and set pieces. This was a very slickly managed crew. The Austrian flag unfurling from above was a very nice touch and its perfectly timed drop as Maria exited was very impressive. There was a super transition into the concert as the swastika banner was unfurled. There was a very dramatic touch as these dropped at the end, perfectly timed, but it might have been nice to clear them in blackout rather than rush into the bows. 

The set was not overly elaborate. It was visually appealing and suited the space very well. It utilised both stage and auditorium floor in a very clever way to ensure slick changes. The four towering marble pillars, which moved around to create different locations, worked very well. The on-stage band was enclosed upstage by white trellis fencing. The maypole in the pre-set was a nice touch. There was a lovely finish to the floor thanks to some excellent scenic artistry. The steps down to the floor of the auditorium cleverly folded down to become Maria's bed. Excellently chosen projection images combined with all of these physical elements, adding great depth in what was a most aesthetically pleasing design overall. 

Lighting was simple but effective. In the absence of a front lighting bar, I was surprised at how well things worked overall, even though there was nothing overly elaborate in the lighting plot. Both the design and operation ensured good atmosphere throughout. One small detail was that one lamp spilled onto the proscenium on stage right and just needed to be focused better. A relatively small point. 

Sound was excellent throughout. There was superb balance in the orchestra and an equally good balance between pit and stage. There was exceptional clarity to dialogue with every word heard. There was wonderful work too with sound effects which added layers of realism. Church bells, thunder and lightning all added greatly to the authenticity. I did think that crowd applause/murmuring sound effects could have really enhanced the concert scene. 

Props were generally well chosen with good attention to detail. There were great props in the opening sequence during the overture. The chair with wheels in the Abbey allowed for great fun with Maria as the nuns dragged her across the stage. I did think that Maria's suitcase was terribly small until it struck me that, of course, she would only have had meagre possessions as she headed off to the Von Trapp’s. Rolf's bike looked of the era, as did the parasols. And of course, we had the obligatory brown paper packages tied up with string. Gretl's teddy was a cute little touch too. 

Costumes were very well chosen. I loved the kids' navy uniforms and their clothes fashioned from curtains were a delight. There was excellent finery amongst the dinner guests with gentlemen in their tails and the ladies were very well turned out in their formal wear. I did feel however that they could have done with more accessories, necklaces, bling etc. Maria's wedding dress was lovely, and I loved the authentically traditional look for ‘The Lonely Goatherd’. All of the nuns' habits went to the floor except for two brazen ‘hussies’ who had theirs suggestively hitched up above their ankles! Also, Frau Schmidt should really have changed out of her maid's uniform to go to the Abbey for the wedding ceremony. The least she could do for her employer. 

Hair and makeup were strong across the board with nothing looking out of place. A good job from all involved. 

This was a very entertaining and nostalgic trip down memory lane for many in the audience. There's something very comforting about the familiarity of such a classic musical. It was familiar and yet there were many new touches and a modern feel with the integration of technology through thoughtfully chosen, projected images which gave this iconic show a refreshing lift. Well done to all in St. Patrick’s Choral Society on what was a very entertaining production featuring a wealth of local talent, young and not-so-young. A credit to you all. 

Pat McElwain 

Gilbert Adjudicator 2024/2025