The Sound of Music.

A moving and powerful production, leaning on a theme that is often overlooked (or at least subordinated) in this musical because of the presence of seven charming children, this version of the classic had a darker vision than most, giving strong focus to what is actually going on underneath all the merriment and song. This version, for example, begins with the funeral procession for von Trapp’s wife and also included an implied (and disturbing) execution of the beloved Uncle Max character for his role in assisting the family in their escape.

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The concept was heavily influenced by the truly awe-inspiring set of Tony Award-winner Beowulf Boritt (whose set design is seen in the pic), borrowing images from the three driving forces of the piece: 

 

• The legendary majesty of the Alps, as reflected in a giant, raked framed painting of the mountains which served as the floor of the playing area

• Religion, looming over the entire play through a gigantic stained-glass window

• The destruction, horror, and devastation of war, with the walls of the church crumbling in ruins providing the walls for the design

 

Given the importance of the act of ascending in the story (climbing the mountains, religious aspirations of the afterlife, and the rise of the Third Reich) a dominant feature of the design was a truly enormous stone staircase emanating from UC.

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It all suggested a world in total chaos and decline, where beauty, devastation, aspiration, and order seemed to all be vying for control. Brilliant lighting design could turn the surreal space into a realistic one with a single cue, whether we were in the opulent von Trapp house, the convent, or on the Alps themselves. 

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As with the other Beowulf Boritt set on which I have worked, there are definitely challenges for the actor with respect to varying levels, a raked floor, and a plethora of stairs. Regardless, the set for this show may be, when compared to all the sets I have worked on in my career, the finest work of art of all of them. I continue to observe the Viewpoints element of ARCHITECTURE and its influence on the artist. Working on a Beowulf Boritt sets makes it impossible to leave out that element of the work!

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Many actors, when faced with task of playing a small role in show (I was the butler, Franz), are left with disappointment. I actually LOVE those opportunities because they demand that the artist (at least a CURIOUS artist) fill in the details of the character that the text may not provide. Franz actually plays a key role in the story of the show in that he tips off the Nazis about the goings-on in the von Trapp household, leading to an eventual need for them to flee. This forced me to consider the butler’s background and what about Nazism was so seductive to him that he would betray an employer of many years. My historical research revealed that the options were many as to what drove people to such extremity in this period (in Franz’s case, the resentment at being part of the serving class for so many years). None of what I imagined as Franz’s story figured into the ultimate story that the audience saw, but it really did not matter. It made playing the part richer, more nuanced (particularly how he viewed all the other characters), and so much more complex.