A Classic Tribute — Candlelight Pavilion's 'Sound of Music'

Confession time: I'm an anti-musical-ite. Given the choice to spend a few hours watching a straight play or a musical, I'd reject the musical about 96.5% of the time. However, despite such a blatant bias, I have a second confession: Candlelight Pavilion's production of the classic musical "The Sound of Music" was quite entertaining.

My biggest problem with "Sound of Music" in particular — to be fair, it's not the show's fault, just everyone else's — is that the songs are sooo played out. It should have been difficult to refrain from cringing as each song started. What with years of hearing people incessantly belting "The hills are alive," or whichever single chorus line they remember. Then there's the endless TV ads sampling Rodgers and Hammerstein. (How many insurance or lasagna commercials have you heard set to the same endless loop of "These are a few of my favorite things"? Honestly.) 

But, again, not the show's fault. And especially not the fault of talented director Douglas Austin or his beautifully voiced cast. About two notes into the opening number I ditched my baggage and surrendered to the great dinner theater ride.

If you're not familiar with the based-on-a-true-story plot of "Sound of Music," here's a quick debrief. The action's set in the picturesque hills of 1938 Austria, just south of Germany, where Hitler's Nazi regime is fixing to blitzkreig all over Europe. Some people are ready to defy the swine; others, to become their kowtowing lapdogs. 

Meanwhile, at a nun-filled abbey deep in the Austrian countryside, Maria Rainer, a fresh-faced pre-nun, is causing all kinds o' ruckus by commiting the heinous sins of enjoying life and— even worse —  subjecting others to her joyfulness. So, to prevent any further disruption to the ladies' lives of dour legalism, the Mother Abbess (Kim Blake) sends Maria away to be a governess for the seven children of the wealthy widower Captain Georg von Trapp (John LaLonde). Eventually Maria's unbridled enthusiasm and passion for music flips the von Trapps' frowns upsidedown, helps them escape Nazi occupation and become worldwide singing sensations. True story.

With the cavernous vowels, crisp vibratto, and nimble feet of a proper Broadway star, a sensational Sarah Elizabeth Combs, lead the well-rounded cast in a delightful presentation of R&G's timeless story.

The best place to sit at Candlelight is at a two-person table along the edge of the stage. Besides not having to look past people eating, or around the excellent wait staff doing their thing, it's there right there, just behind the footlights that you can best behold the nuance of a great performance like Ms. Combs's. The way she shrank and gasped, "Oh help," at first sight of the von Trapp estate, composed herself, and resolutely marched up the stairs singing, "I have confidence" — just marvelous. Aspiring triple threat-ers should be flocking to this show and taking copious notes. 

It's only when the musical cues stopped, and acting (the most elusive of the threat trio) was required, that the show sputtered here and there.

Opposite Ms. Combs was Candlelight regular John LaLonde, normally amazing (e.g. Adolpho in last season's "Drowsy Chaperone"), but a bit inconsistent here as Captain von Trapp. His first few lines were more Austrian-ish than the rest of the show and, until Maria melted his heart, his vociferousness worked against him. True authority means never having to shout. A stern look, a whistle blow, even one's presence should be all that's required to make everyone else stand at attention. But, oh, when the Captain first heard his children singing, and when he danced with and nearly kissed Maria for the first time, LaLonde's emotional payoff was brilliant. His tears of joy and electric chemistry with Ms. Combs were especially moving.

Five of the seven von Trapp kids are double cast. Courtney Cheatum (Leisl), Katie Ochoa (Louisa), and the "red" cast of Matthew Funke (Friedrich), Haven Watts (Brigitta), Wyatt Larrabee (Kurt), Brooklynn Vizcarra (Marta), and Alison Bradbard (Gretl) play well together. Their harmonizing was on point; their choreography, in synch; and their scenes (especially with Ms. Combs) sparkled with well-timed realism. Their final performance, with the bits of cuckoo clock choreography, made a great climax.

Dimyana Pelev, as the uppity socialite Elsa Schrader, was a great foil to Ms. Combs' innocent countryside girl. And Ms. Pelev's surprise cameo as a bespectacled, toothy viking girl was side-shreddingly hilarious.

The weakest points of the show were the scenes with the nuns, who seemed much more comfortable, and were certainly much more believable, while singing. Not to mention the "Sixteen Going on Seventeen" scene, where Leisl and Rolf's (squeaked by Zack Crocker) singing, dancing, and playfulness were well-done; their puppy-love chemistry, and the gravitas of Rolf's WWII foreshadowing, not so much.

As with most shows at Candlelight, the technical aspects of this production were impressive. Chuck Ketter and Steve Giltner, set and lighting designers, respectively, do great work. My delight at seeing real curtains hanging in every window, instead of painted on the flats, speaks more about the quality of the theater I'm used to seeing than I should admit.

"The Sound of Music" continues at the Candlelight Pavilion Dinner Theater until March 24, 2013. Get your tickets at http://www.thecpdt.com or by calling 909-626-3296.

LA Theater Reviews by LA Theater Critic.