The Sound of Music | Leicester Curve

Despite The Sound of Music having no real link to Christmas, it’s become a festive-season staple for many families. This year marks both the 60th anniversary of the film and Julie Andrews’ 90th birthday, two milestones that make revisiting this beloved story even more poignant. On a personal note, it was The Sound of Music that introduced me to musicals and sparked my lifelong love of theatre. It’s practically in my DNA: in 1965, my grandmother took a job at her local cinema simply so she could watch the film repeatedly during her shift, only to hand in her notice once the run ended.

So what makes this story so enduring? And how could Curve’s new production possibly live up to such an iconic legacy? Nikolai Foster’s Made at Curve revival succeeds by placing the central themes of family, resilience, hope and love at the heart of its storytelling. We follow Maria, a free-spirited novice nun, who is sent to govern the unruly von Trapp children. Instead of following Captain von Trapp’s strict regime, she uses music, imagination and warmth to win their trust, bringing colour back into their lives. Slowly, even the Captain’s rigidity softens in the glow of Maria’s irrepressible spirit. But, as ever, the looming threat of the Nazi occupation intrudes, pulling the family from domestic harmony into a tense fight for survival.

I’ve always felt the film unfolds in two halves - the joyful revitalisation of the von Trapp household, followed by the darker political backdrop. Foster’s production skilfully interweaves these strands rather than presenting them separately. The shadow of invasion is felt throughout. A standout example is the elegant party scene for Baroness Schraeder. Ebony Molina’s choreography subtly divides the guests along ideological lines, while George Dyer’s musical arrangements incorporate a martial edge into the waltz, heightening the tension with striking precision.

Michael Taylor’s set and costume design also plays a key role in this tonal shift. With the iconic “The hills are alive…” lyric ringing in our ears, the challenge of presenting the Austrian mountains onstage looms large. Taylor avoids cliché, instead offering vast, misty, jagged slopes and a real babbling brook. This darker, more imposing landscape hangs over the production, visible through the imposing windows of both the von Trapp home and the Abbey. It’s atmospheric, cinematic and unexpectedly moving.

Reuniting Molly Lynch and David Seadon-Young from last year’s Made at Curve Christmas show My Fair Lady, the production boasts a leading pair with real chemistry. Lynch’s Irish Maria arrives barefoot on the mountain, gleefully splashing through the stream. Her portrayal is youthful, warm and spirited, and her voice is airy, bright and expressive. It truly is like a “chime that flies from a church on a breeze.” One of her finest moments is her confrontation with Captain von Trapp; the audience audibly delighted in her defiant, “I am not finished!”

Seadon-Young’s Captain is suitably stern, gradually revealing tenderness through his performance and rich vocals. Minal Patel is another cast member returning to the Curve from My Fair Lady as the ambitious and witty Max Detweiler, while Faye Brookes brings a larger-than-life glamour to Elsa Schraeder, often armed with a glass in hand. Joanna Riding gives a beautifully grounded and maternal Mother Abbess, whose duet of My Favourite Things with Maria is unexpectedly funny. Her rendition of Climb Ev’ry Mountain was a genuine tear-jerker.

The von Trapp children were uniformly excellent. Aviva Tulley leads them confidently as Liesl, delivering a “Sixteen Going on Seventeen” simmering with teenage longing opposite Christian Cooper’s earnest Rolf. Special mention must go to Jagoda Drozdz as Brigitta, whose sharp comic timing and emotional clarity were on par with Lynch during Brigitta’s pivotal moment of insight.

Inevitably, certain elements of the film are trimmed to keep the pacing tight (no puppet goats here) but what remains is a production overflowing with sincerity, heart and affection. Curve’s production of The Sound of Music doesn’t simply recreate a classic; it reframes it with emotional honesty, striking design and a deep understanding of why this story continues to resonate.

In a season built around family, hope and the triumph of light over darkness, this production reminds us that even without Santa Claus, flying reindeer or presents, The Sound of Music might just be the perfect Christmas story after all.

The Sound of Music runs at the Curve until 17th January 2026.

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★★★★★ (5*)

Gifted tickets in return for an honest review | Photography by Marc Brenner