REVIEW: The Sound of Music (Youth Edition) - Roar Academy

Review: The Sound of Music – Youth Edition

Presented by: Redcliffe Musical Theatre and Roar Academy

Venue: Redcliffe Entertainment Centre

Producer/Director: Madeleine Johns

Musical Director: Rhonda Davidson-Irwin

Choreographer: Meredith Bailey

I have watched The Sound of Music so many times that I could probably recite the script in my sleep. So, sitting down to see the Youth Edition with Roar Academy and RMT felt like revisiting a very familiar friend. I knew exactly where the story was going, but the joy came from seeing how a new group of young performers would bring it to life.

Directed by Madeleine Johns, the production moved along at a lively pace as Maria arrives at the stern Von Trapp household and gradually fills it with music again. Projections established the various locations, shifting us from the mountains of Austria to the calm interior of the Abbey. A small staircase and scattered furniture pieces created a simple playing space that allowed scenes to transition without cluttering the stage. It kept the focus squarely on the performers, which suited the streamlined Youth Edition nicely.

Ruby Marriott led the show as Maria (a role shared with Mia Dacey) and brought a bright voice and witty warmth to the part. Maria is a character who needs both sincerity and mischief, and Ruby leaned confidently into that playful spirit. Her singing was impressively pitch accurate with a clear tone that carried easily through the theatre. What really worked was the chemistry she built with Ben Smith as Captain Von Trapp. Their early scenes together had a lovely comedic rhythm as Maria’s optimistic approach collided with the Captain’s rigid household rules.

Ben Smith, (sharing the role with Joshua Darcy), presented a commanding Captain Von Trapp with excellent diction and an authoritative presence. His transformation from strict father to rediscovering music again was nicely handled, and his vocals were showcased beautifully in the ensemble version of “The Sound of Music.” Later, his rendition of “Edelweiss” landed with warmth and sincerity.

The Von Trapp children appeared in their distinctive navy outfits with Austrian style braids. Isaac Van Stam (Friedrich), Clover Wilson (Louisa), Kirill Yaremchenko (Kurt), Matilda Day (Brigitta), Daisy Wilson (Marta) and Alice Ritchie (Gretl) all brimmed with youthful energy. One of the evening’s standout moments came with “So Long, Farewell.” The number was performed by the children alone, without a conductor guiding them. They handled the challenge well, with Kirill Yaremchenko delivering a particularly memorable moment as Kurt. Matilda Day also shone as Brigitta, especially during “Do-Re-Mi,” where her expressive charisma suggests a young star in the making.

Zola Bulan brought a lovely presence to Liesl, paired with a warm mezzo tone that suited the role beautifully. Her performance of “Sixteen Going on Seventeen” alongside Tyler Haynes as Rolf was precious, supported by excellent lighting and complex choreography choices from Meredith Bailey. Some of the trickier transitions and movements could have benefitted from a little more rehearsal time to fully settle, but the scene still captured the sweetness of the characters’ young romance.

The Abbey scenes offered some particularly lovely vocal moments. Mikaelah Bolton, Darcee Buckingham and Isabella Giddy opened the convent atmosphere with a very pretty and proper rendition of “Maria.” Their sound was clear and elegant, though I did find myself wishing for the harmonies that usually make that number sparkle. Zahlee Brackstone stood out strongly as Mother Abbess, bringing both gentleness and authority to the role. Her performance of “Climb Ev’ry Mountain” was a highlight of the evening, beginning softly before growing into a powerful and resonant finish. She also shared a lovely musical moment with Ruby Marriott in “My Favourite Things,” where the pair blended warmth and sensitivity in the duet.

Providing plenty of humour was Angus Pitman as Uncle Max. Apparently not an actor by trade, his dry delivery proved surprisingly effective, particularly with the line following the children’s performance: “That’s really nice, but it’s no good.” I suspect that line may become my new go to phrase when giving feedback to my own students ha!

Because this is the Youth Edition, several familiar elements from the full musical are trimmed or rearranged. The Baroness does not appear in this version, and “I Have Confidence” and "Something Good" is absent. Interestingly, “The Lonely Goatherd” appears during the thunderstorm scene instead of “My Favourite Things,” with the ensemble briefly joining in to create a short group number. With fewer ensemble songs available in this version, the opportunities for large group musical moments are naturally more limited.

Redcliffe Musical Theatre makes sure to share the roles across multiple casts so that more young performers have the chance to step into the spotlight. It is a generous approach that allows many students to gain valuable experience, even if rehearsal time must be divided between more performers.

Overall, this production is a sweet celebration of a classic musical, carried by a group of enthusiastic young performers. For families and lovers of this timeless story, it is always a pleasure to hear those iconic Rodgers and Hammerstein melodies ringing out once again under the musical guidance of Rhonda Davidson-Irwin.

After all, few musicals remind us quite so warmly that a little bit of music can change everything.