I have seen The Sound of Music a dozen different ways.

I’ve watched it on the telly as a kid at Christmas, as a teenager on VHS feeling soppy and sentimental, in my 20s laughing at it not with it (but secretly still loving every minute). I saw it in my early thirties as a sing-along version hosted by a drag queen wearing a curtain (complete with curtain rod and rings). In my forties I took my kids to the live show and left at the interval (because it is fairly long for a five-year-old). It was only recently that my son realised there were Nazis in the story because all the nasty stuff is in the second half!

So, to say I know my Von Trapps is an understatement. I know my doe-ray-me from my la-te-doe and my bright copper kettles from my brown paper packages. I might not quite yodel like a goat herd, but I can certainly sing along to all the belters. I was, therefore, happy to accept whatever Theatre HB had to offer me.

I was not prepared for the outstanding quality of performance, the considered staging, the level of talent across the board that this production serves up.

I had certainly expected to be entertained, but I hadn’t expected to be quite so moved. The arrival of the nuns, which opens the show, is tricky business because it could so easily veer towards pastiche. This, however, is stunning. The calibre of singing and the sheer number of singers (what is the collective noun for nuns?) is impactful. 

There are moments of nun-fun for sure. Molly Roche, Amy Dunn and Jenny Morley provide an entertaining comic foil to the marvellous Mother Abbess (played by Kerry Unsworth). 

Even before we leave the nunnery, I’m hooked and hungry for more. For much of the time I forget my role is to critique, and instead find myself singing along, completely absorbed. 

The most challenging role, of course, is that of Maria, the central character whose narrative arc takes her from flighty novice to steadfast matriarch. Teish Heywood nails it. She can sing, she can dance, she’s engaging, she has excellent stage craft. My one observation is she’s perhaps a little stern. I trust a few nights into the run she’ll have found her groove and will relax into a gentler Maria.

Rob Franks as Captain Von Trapp brings that sternness in spades on first meeting. From there though Franks manages to soften the character in tiny increments, which reflect the impact his children are having. It’s masterfully done, and Franks manages to make the austere and aloof Captain, little bit by little bit, a likeable then loveable father.

As the Von Trapp offspring, all the children are marvellous. Each brings something special and memorable to their character. Each inhabits their part completely. Each works hard, conducts themselves with discipline and focus. Each provides a balance of humbleness and generosity to their fellow performers.

Although I know from the programme there is a whole other cast on the following night, I can barely believe it. Here is my Liesl, here is my Kurt, here is my Gretl. Just as wondrous as they were when I saw them on telly in the 80s, on VHS in the 90s, on stage sometime around 2009.

There are too many stars in this production to mention, and the quality across the board means no one could, or should, be singled out. Full credit must go to the team behind the cast and especially to director Kelly Reid, musical director Linda Gilchrist and choreographer Emma Wellum-Smith for having the bravery to stage such a well-loved, well-known and yet very challenging piece.

This production of The Sound of Music is heartwarming, romantic and nostalgic, and the perfect antidote for a rainy winter night.

Theatre Hawke’s Bay
Hastings
9-25 July 2026