Review: The Sound of Music (Curve Leicester)

Review by Daz Gale

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Certain classic films have become synonymous with Christmas, despite having little connection to the holiday in their themes. The Sound of Music is the perfect example, a regular fixture on Christmas TV schedules for as long as I can remember. Another traditional Christmas fixture is the annual big musical at the ambitious and often outstanding Curve Leicester, so it feels fitting that the two are coming together this year as they present their own take on the festive favourite. Would this production be music to my ears and prove to be one of my favorite things this holiday season?

Debuting on Broadway in 1959 and best known for its timeless 1965 film adaptation starring Julie Andrews, the 60th anniversary of the release of The Sound of Music is celebrated with this brand new Made at Curve production. The story centres on free-spirited novice nun, Maria, who is sent to become governess to Captain von Trapp’s seven children. Defying his strict orders, she brings music and joy back into their lives, transforming them into a singing family. As the whole household falls for Maria’s charms, including the steely captain, their dream of an idyllic life is threatened when they must confront where their loyalties lie and attempt to escape the Nazis.

There is a certain quality you expect with any Made at Curve production, with the Leicester theatre becoming known for their reliable, high-quality and penchant for bringing something new to some of the most loved musicals of all time, with recent Christmases seeing them try their hand at My Fair Lady, Evita, The Wizard of Oz and A Chorus Line. Their take on The Sound of Music is no exception, showcasing what this incredible theatre does best, retaining the essence of the classic, ensuring they don’t rock the boat too much or disappoint any of the generations who have grown up with this story, while being unafraid to try something new in their version, creating the perfect balance.

It is the genius of Nikolai Foster’s direction that allows this production of The Sound Of Music to sing, using the fairly large space of the Curve stage to maximise the impact of the story, retaining the intimate nature of it while simultaneously making it feel even grander. This is achieved through a sensational set design from Michael Taylor, whose initial reveal of the mountain filling the back of the stage led to a sharp intake of breath. While this proves ever-present, a use of innovative sets including the convent and von Trapp’s house are equally stunning, creating a gorgeous representation of Salzburg. This is where Foster’s direction really takes shape, with characters appearing on the mountain while others dominate the stage further forward - a stirring image at the end of Act One, and the emotive final image we see as the story reaches its devastating climax are both handled with sensitivity and care, flawlessly delivered.

Featuring one of the most famous collections of songs in any musical, Rodgers and Hammerstein’s timeless songs are brought to life in exceptional fashion here, with ‘Do-Re-Mi’, ‘My Favorite Things’, ‘So Long, Farewell’ and the title number ‘The Sound Of Music’ sounding every bit as glorious as they would when many saw the movie 60 years ago. Ebony Molina’s choreography ensures these numbers are delivered to the highest standard, feeling classic and familiar while still managing to be distinct to this production and always immensely satisfying to watch. George Dyer’s fantastic arrangement and David Doidge’s musical direction makes full use of the Curve’s abilities, making these songs perhaps sound better than ever before, though this particular performance did feature a handful of missed sound cues.

The stars of last year’s Made at Curve production of My Fair Lady reunite for the two leading roles, with Molly Lynch and David Seadon-Young starring as Maria and Captain Georg von Trapp respectively. The fact they spent all of last Christmas together in the same space works in their favour, with their strong chemistry clear to see, as is the comfort they clearly feel on this familiar stage. Seadon-Young is thrilling in his turn as the initially strict Captain, with his gradual melting played beautifully, and a gorgeous vocal performance on ‘Edelweiss’.

Aviva Tulley leads the seven von Trapp children with a wonderful turn as Liesl, with her six younger siblings played by a revolving cast of eighteen wonderfully gifted children - the six of whom I saw at this performance all blew me away with their talents. Faye Brookes is a comic highlight as Elsa Schraeder, with her frequent stomps through the audience a great touch for this production. Minal Patel gets a strong turn as Max Detweiler, with Jamie Chatterton, Christian Cooper and Mark Peachey all getting moments to shine as Herr Zeller, Rolf Gruber and Franz.

Rachel Izen gets some understated comic highlights as Frau Schmidt, while another standout in this sensational cast goes to the always amazingf Joanna Riding. She may not get much stage time as The Mother Abbess, but she more than makes her presence felt, with a joyous zeal in ‘My Favorite Things’ and perhaps the vocal performance of the entire musical with a rousing and poignant ‘Climb Ev’ry Mountain’, showcasing her God-given strengths as an actress.

The undoubted star of this production, however, is unsurprisingly Maria herself. Molly Lynch’s star has been on the rise for the last few (not five) years, and she is at her very best here. With a real warmth and natural glow, she delivers a charming performance that allows the audience to fall in love with her at the same time as the entire von Trapp family does. It isn’t easy to step into the shoes of one of the most famous musical theatre roles there is, particularly given the stature of those who have gone before her, but though it may feel like a bit of an uphill climb, Lynch does this effortlessly. If her stage presence had already impressed, her vocals made her performance soar to stratospheric new levels, with a particularly brilliant ‘Do-Re-Mi’ and a gorgeous duet of ‘Something Good’ with David Seadon-Young.

If Curve Leicester have proved their quality time and time again in recent years, The Sound Of Music doesn’t just continue this trend, it perhaps tops it. The genius of all involved here has led to a The Sound Of Music that proves both timeless and timely, feeling every bit at home in 2025 as it did in 1965, though perhaps that speaks more for the state of the world at the moment. Nikolai Foster’s clear vision here has led to a thing of beauty that will surely connect with a wide audience of those who grew up with the story, and those who may be having their very first experience with The Sound Of Music.

Watching an audience of all ages and walks of life share in this one glorious moment, laughing and crying along, was a true testament of what theatre can achieve when it is allowed to thrive, and this production certainly does that. Hitting every note perfectly, this stunning production really is the equivalent of a drop of golden sun and deserves a future life beyond this Christmas. With that in mind, let’s hope we don’t have to say so long, farewell to this production straight away, and more audiences get to see this fresh and familiar take on the classic in years to come.

The Sound Of Music plays at Curve Leicester until 17th January. Tickets from https://www.curveonline.co.uk/whats-on/shows/the-sound-of-music-2/

Photos by Marc Brenner