at Portsmouth's Prescott Park

There is no need to explain the plot of this play. Everyone knows it and everyone should. Although it vastly differs from the actual story (and it really irks me that the Von Trapp family naively signed away their rights to the play and the movie, which continue to make loads of money), the combined elements of the reality and the fictional fantasy make for a great story.

Director David Kaye cast the show perfectly. As Maria, Tara Jean Conway was uncomfortable at first at a recent performance—we didn’t see the joy in her as she sang about the hills and the music in the opening number—but as soon as she met the children, she warmed up until she was bursting with energy. Jonathan Roth is perfect as Georg. His demeanor, his look, his commanding voice and a bit of makeup completely overshadows his youth. Donna Goldfarb is regal as the Mother Abbess, but she occasionally lets the “Maria” inside her peek out. She makes us see that she, like Maria, once had an important choice to make. She chose the abbey, but she can see that Maria must follow a different path. This unspoken emotional exchange, poured into “Follow Every Rainbow,” is a golden moment of theater.

An equally touching moment comes during “Edelweiss,” when the captain’s throat closes with emotion mid-song. In the traditional version, it’s his new wife Maria who comes to his rescue, carrying his voice along with her own. Kaye chose instead to send out the littlest Von Trapp, Gretyl (Michele Brazeau/Blaine Bravener Stevens), who lays her tiny hand on her father’s shoulder and offers her small but strong voice where his has failed, bringing him back. It is a touching moment.

Adrienne Lesser displays a perfect mix of superiority and snottiness as the Baroness Elsa Shcraeder—we love to hate her. And Josh Moore offers a thorough and chilling portrayal of Rolf’s transition from boy in love to young Nazi. During “16 Going on 17,” however, Rolf and Liesl (Chelsea Hermann) have trouble keeping up with the tempo. On several occasions, they dash breathlessly through the lyrics. This is such a sweet moment that we want to savor it and relive our own moments of adolescence through it. It’s not a moment to rush.

The expression on Frederick’s (Sam Tolley) face as he walks toward the mountains, realizing he is no longer a boy but a man, is a perfect example of wordless but powerful acting. (I personally burst into tears.) 

Last but never least, Chris Bradley is an explosion of pure onstage jubilance as Max Detweiller (and in the opening number, as a nun). Unlike any production I’ve seen, Kaye and Bradley made the choice to let Detweiller be a boisterous, bouncing, gay man, and it works like a charm.

Set designs by Dewitt Hardy were fabulous, simple and easily transformed. Jeanne McCartin’s costumes equally reflect her ample skill. Tim Allen’s musical direction (but for his tendency to rush) is delightful and charming. Diana Palumbo’s gorgeous choreography is the most appropriate I’ve ever seen—this is often a hurdle this show stumbles over. But Palumbo didn’t try to make it a Fosse show, nor was it Dancing 101. It was just lovely, appropriate dance forms well within the range of each performer, enhancing the songs perfectly.

It’s not a summer without a show at the park. Treat yourself.

“The Sound of Music” runs on Thursdays and Sundays at 7 p.m., Fridays and Saturdays at 8 p.m.