The Sound of Music: A Classic That Still Finds Its Voice - Colette Tomas

Some musicals are remembered for their stories, while others are remembered for their music. In Jack O’Brien’s touring production of The Sound of Music, the two come together in a performance that is as charming as it is visually captivating. 

Set in Austria, the musical follows Maria (Sydney K. Borchers), a novice nun who becomes governess to the seven children of Captain Georg von Trapp (Kevin Earley). As music transforms the household, the family faces the growing threat of Nazism. This production balances the musical’s familiar charm with political themes that remain relevant today. 

The vocals are among the production’s greatest strengths. Sydney K. Borchers, performing as an understudy in the role of Maria, delivers a warm, engaging performance with impressive vocals. “Do-Re-Mi” is a highlight, bursting with energy and humor. The children are equally delightful, balancing the precision of their musical performances with the natural innocence of childhood. 

One unexpected standout was Kevin Earley as Captain von Trapp. To be quite frank, his character didn't originally catch my attention, but his performance of “Edelweiss” completely blew me away. The restraint in his delivery gives the song a sincerity that makes its emotional weight clear without overdoing it. 

The costumes are another highlight. Jane Greenwood’s designs distinguish the characters while revealing details about their personalities and social standing. Elsa Schraeder’s wardrobe communicates her wealth and sophistication, while Liesl’s flowing pink dress during “Sixteen Going on Seventeen” adds a romantic quality to the scene. With the orchestra positioned in the pit, the production has a fairly traditional theatrical look, brought to life by moments of effective visual design. 

The staging, however, is less consistent. Some scene transitions are so seamless that the changes barely register, creating an impressive sense of continuity. At other moments, particularly during the opening scenes of the abbey, the stage feels comparatively disorganized. From certain seats, glimpses of backstage activity distract from the illusion. Although these distractions are brief, they contrast with the production’s smoother transitions.

I was also surprised by how much humor the production brought to the stage. The humor gave the audience a chance to relax between the more serious scenes, and it kept the show from feeling overly sentimental. This made the more serious political developments feel all the more unsettling, as the warmth of the family’s life stood in such sharp contrast to the danger approaching them. 

The musical’s political undertones add another layer to the experience. Max’s (Nicholas Rodriguez) reluctance to take a firm political position contrasts with the growing danger surrounding the Von Trapp family. This tension makes the production’s historical setting feel particularly relevant, reminding audiences of the consequences of remaining politically neutral during political upheaval. 

Despite occasional staging distractions, The Sound of Music succeeds through its expressive performances, beautiful costumes, and balance of humor and sincerity. This touring production plays at the Orpheum Theatre through October 25th, 2026. For audiences seeking memorable music and thoughtful storytelling, this classic remains well worth seeing.