THE SOUND OF MUSIC South Coast Choral and Arts Society (SCCAS) Victor Harbor Town Hall Until 19 May 2012 Review by Kelly Mildenhall The stage show of “The Sound of Music” is a nostalgic treat for long-time fans of the 1965 Rodgers and Hammerstein film starring Julie Andrews and Christopher Plummer. With such a massive fan-base, staging this beloved show is an ambitious undertaking, as there is a lot riding on memories of the beloved songs and characters. Something as inappropriate as a miscast Von Trapp child or below-par Maria just would not do; thankfully, there are no issues with this, as it is again abundantly clear that there is a stack of talent to be found in Victor Harbor. Director JJ Geelen again displays wonderful intuition, following his successful production of “Oliver!” last year. There are some noticeable differences in the stage version of the show, but the essence of the show is maintained. Penny Smith is sublime in the role of Maria. She is appropriately endearing, flawed and strong, and has a powerhouse voice. She connects immediately with the Von Trapp children; their first spirited rendition of ‘Do-Re-Mi’ is lovely. Wonderful tension is maintained between Smith and Mick McKinlay, as the suitably guarded and brisk Captain Von Trapp. Syrupy-voiced Kirralee Moores impresses as the elegant Elsa Schraeder, and she maintains a great rapport with comic relief Max Detweiler, portrayed by Rick Morriss. The Von Trapp children are fittingly cast age-wise, and are all vocally strong. Hannah Osborne captures Liesl’s maturity and sensitivity, and Gemma Dandie as youngster Gretl displays excellent vocal control, particularly during solos. Kathryn Adams as Louisa is an understated talent; Eloise Morriss maintains marvelous energy in the role of Marta, and Jess Kuss makes a concerted effort to adopt an accent for her stint as Brigitta, though must ensure her focus doesn’t stray towards the audience. Daniel Curtis, as Friedrich, and Scott Murton, as Kurt, are clearly talented, though there is scope for them to ramp up their portrayals, to avoid getting lost in the mix. Functioning doors and windows, as well as a multiuse staircase, feature in the Von Trapp home, and the Abbey interior is decked out appropriately, with gates utilised innovatively. The use of flats are a regular feature in South Coast Choral and Arts shows, and with double-sided designs, the stage is swiftly and effectively transformed; the stage crew is to be congratulated on their swift handiwork. The costuming is impressive and vast, incorporating everything from the children’s curtain play clothes, traditional nun habits and regal dresses, as well two different engagement rings; such attention to detail is refreshing. Brenton Osborne ably leads a proficient group of musicians through a familiar musical score, and their energy lifts the on-stage action on the odd occasion that it lags as a result of the 2.5 hour run-time. It’s well worth the drive for nostalgia’s sake, but also to check out the strong cast, professional design elements and talented musicians.