Curve Theatre, Leicester – until Saturday 17 January 2026
Reviewed by Sam Bradshaw
4****
You would be hard-pushed to find a person on this planet who has never heard of The Sound Of Music. So it’s no surprise that Curve have chosen this beloved family classic as their Christmas show – and while nuns and nazis don’t normally feature in festive favourites, this production is twinkly and heart-warming – everything you’d want at this time of year.
Confidently directed by reliable Nikolai Foster, this revival doesn’t follow the classic film frame by frame – there is no topping any performance by Julie Andrews, so why try? However, it is fresh and pacey, and importantly: relatable for a modern audience, as we find ourselves almost a century away from the date Austria was invaded during WW2.
This epic cinematic production makes the most of the expanse of the Curve main stage. From the simple warm glow of real candles and a single voice, we transition from the most exquisite traditional painted cloth with delicate mountains, which rises to reveal a magnificent natural landscape – no spoilers here, it needs to be seen to be believed. This work by Michael Taylor is theatrical wizardry and you’ll forget you’re not in the West End. Even the programme is elegant and matches the grandeur of the setting. And of course, there is an imposing staircase – well, this is a Made At Curve production!
Lighting by designer Mark Henderson is well-matched, with the warm sunset being so subtle and yet you notice it just before the line points it out, and a delicious sharp contrast between the warmth of home and the clinical white of invasion with a snap faster than you can say “Heil.” Backlighting through the cloister window casts beautiful shapes over the preparation of the young bride. Beloved stagelights become searchlights. Exquisite work by Mark and crew.
Staging is immersive, making use of aisles and exits, and the serene nuns emerge from sub-stage as Joanna Riding (Mother Abess) leads the Sisters in a hauntingly beautiful chorus, surrounding us with choral perfection from the company, lead by George Dyer. As previously mentioned, you will find songs are not ‘in their place’ as per the film – but nothing feels terribly out-of-place either. The audience joy was palpable following a rousing version of The Hills Are Alive. It is a little difficult to confirm the accent of Maria (Molly Lynch) until we hit some dialogue, when we discover this Maria is an Irish postulant who grew up on the mountains and Molly herself is Irish. It seems most actors are using their natural accents, which you just have to accept and I feel we get some very intense performances perhaps because the actors are so comfortable in their characters.
Highlights include the absolutely delightful Rachel Izen as Frau Schmidt, the no-nonsense professionally sarcastic housekeeper – and the comedy trio of Sister Margaretta (Keanna Bloomfield) Sister Sophia (Megan Ellis), and Sister Berthe (Leonie Spilsbury).
The show is absolutely stolen by the Von Trapp children, who are utterly charming and faultless. Kneeslides and cartwheels abound as their energy never drops, and the thunderstorm bedroom seen is another crowd-pleaser. They really are all fabulous but I must make a special mention to Isla Granville as Brigitta, who delivers the most heartfelt and sincere monologue telling Maria she must surely know she and the Captain Von Trapp (David Seadon-Young) are in love – and her look of concern as her Father struggles to hold it together as he sings Edelweiss will break your heart.
The dramatic moments of the show are highly emotive for us as an audience, heightened by energetic performances. Rolf (Christian Cooper) gives strong red flags during ‘16-going-on-17’, with wonderful bike-ography shared by an exquisite Aviva Tulley (Liesl) giving the song a spicy twist. The terror and distress of the children is keenly felt. The inclusion of the ‘Hitler Youth’ is chillingly distasteful but important. Another rare treat in modern theatre – a powerful and exposing ballet at the Von Trapp ball, beautifully crafted by choreographer Ebony Molina. A happy occasion gradually poisoned by hatred, suspicion and distrust. And there is rather a lot of that going on in today’s society too..
As previously mentioned, this isn’t a carbon-copy of the film – and nor should it be. We always have the original and I’ve no doubt I’ll be watching it again this Christmas. This production is brave, fast-paced, immersive, relevant, relatable – and perhaps a little ruthlessly efficient in places. But I encourage everyone to see it, as this monumental spectacle will live long in the memory of theatregoers in Leicester and beyond.