Adored by generations, The Gilbert & Sullivan Society of South Australia has brought one of the world’s most beloved musicals to the stage with their production of The Sound of Music.
Transporting audiences to the Austrian Alps, we are reminded of the power of music and the resilience of community, themes that continue to inspire and uplift across generations.
‘G & S’ is one of Adelaide’s longest-running community theatre groups. Their first show was performed in 1947, and since then, they have produced two major productions per year.
This season’s production sees director Adam Goodburn, musical director Liam Phillips and choreographer Vanessa Redmond create a joyful feat of community theatre.
The Sound of Music follows Maria, a spirited young postulant at an Austrian Abbey, who is sent to be the governess for the seven children of the widowed Captain Georg Von Trapp. Her nurturing presence and gift of music bring joy and love back into the family’s rigid household.
But as the threat of Nazi occupation looms over Austria, the Von Trapp family are forced to make a courageous escape in order to protect their freedom.
So, let’s start from the very beginning! The curtain rises to a magnificent set that doubles as both a stunning mountainous landscape and the Von Trapp mansion, designed by Goodburn and painted by Brian Budgen.
Michael Bentley’s lighting design sees many clever alterations in the lighting hues that accentuate either backdrop to suit the setting.
Igniting the theatre with their rendition of Preludium are the nuns of the Abbey. Their vocals are beautifully unified, setting the tone for the show.
Leading the nuns at Saturday’s matinee was Chany Hoffmann – who was asked to cover the role that morning. Whilst her line delivery was, understandably, not quite there, the other cast members continued on unfazed. Hoffmann proved herself with her incredible operatic voice, especially in Climb Ev’ry Mountain.
As the adored Maria, I cannot fault Emily Fitzpatrick’s performance! Her stage presence never falters; she has chemistry with all the characters she interacts with onstage. Her zealous presence radiates warmth and a sense of playfulness, making her bond with the children feel genuine.
Do-Re-Mi is an absolute audience highlight, with enthusiastic children, simple movements, and wonderful vocals culminating in a joyfully cohesive number.
Saturday’s matinee featured the Rodgers Cast of Von Trapp children. As young artists, these children are a very lively bunch, who know how to comedically time a joke with a touch of cheek.
Estelle Kouzapa, as Brigitta, gives a confident performance. At just 11 years old, she captures Brigitta’s perceptive presence and sweet but deadpan delivery.
The children’s charming performance of So Long, Farewell in the living room is a delightful showcase of their playful energy and strong ensemble chemistry. It’s a testament to their cohesion as a cast!
Also bringing the chemistry of young love and early romance are Liesl and Rolf, played by Teresa Van Der Hoek and Matthew Boyd. Despite their ages, they carry these roles to professional standards with Sixteen Going on Seventeen another audience favourite.
Vanessa Redmond’s choreography in this number perfectly complements their abilities and allows them to capture the sweet yearning feelings of these characters.
As Captain Georg von Trapp, Andrew Crispe masterfully portrays his character’s emotional arc from rigidity to vulnerability. Central to the narrative is Georg’s gradual rediscovery of joy, despite being initially distant.
His early chemistry with Megan Doherty as Elsa Schraeder is pure. Together, they capture the quiet truth of a relationship built on compatibility rather than true connection.
Once feelings between Maria and Georg are confessed, both characters let their guards down and allow themselves to be truly seen and loved. Their duet of Edelweiss is deeply moving, filled with vulnerability and a subtle touch of patriotism during the show’s heightened conclusion.
As Max Detweiler, Nicholas Bishop strikes a perfect balance between comedy and conscience. He ensures the character is more than just a charming presence. He also presents a complex figure navigating the tension between survival and resistance under the looming shadow of authoritarianism. Bishop is calm and confident in the role, a comforting anchor in the final scenes.
Liam Phillips’ music direction is just superb. I especially liked how the orchestra plays in the background during some of the dialogue-heavy scenes. This touch adds further dimension and is a clever way to enhance the audience’s emotional response during key moments.
The Gilbert & Sullivan Society’s production of The Sound of Music proves that this timeless classic still has the power to move hearts and lift spirits. Audiences will carry with them the warmth, joy, and courage of the Von Trapp family, and be reminded that music and love can remain steadfast even in the face of life’s greatest challenges.
The Sound of Music runs to 4 October at The Arts Theatre. 53 Angas Street Adelaide SA 5000.
Tickets: https://www.gandssa.com.au/the-sound-of-music
Website: https://www.gandssa.com.au/
Socials: https://www.instagram.com/gandssa/
Photo credits: Pro Shots Photography
