Leave it to Ronnie Larsen, POW! (Plays of Wilton) founder and artistic director, actor, producer, playwright and, dare I say hyper-creative mad genius? for coming up with original, out-of-the-box productions practically every quarter. (Last year’s A Shonda:The Musical remains one of my all-time favorites.) But this time, he outdid even himself by taking on classic, beloved by everyone, THE SOUND OF MUSIC, and presenting the musical live and for free at a local Wilton Manors park in a way it’s NEVER been shown before.
In fact, this marks Ronnie’s second park presentation this year. In the spirit of legendary Joseph Papp’s Public Theater performances in New York’s Central Park – POW’s free-to-the public Mickel Park outdoor debut of musical comedy classic, A Funny Thing Happened on the Way to the Forum, held in March – was also a resounding success. But I must say with The Sound of Music (playing only through June 9th and fast becoming, if not already, the hottest ticket in town) Larsen has gone where no theater director has gone before. And we’re all invited, “literally,” to join him on a fresh-air, magical adventure through the Austrian Alps (via our own native greenery).
Choosing easily-accessed Richardson Historic Park & Nature Reserve to serve as both extant stage set and outdoor seating venue was truly inspired! The park’s historic Manor House boasts a wide front porch, overhead balcony, and open side staircase – all perfectly designed to serve as both Abbey and von Trapp mansion. And it’s surrounded by grassy fields that slope down a bit (you just need to imagine “the hills”), not to mention a path toward a darling Gazebo and, to the side, a Carriage House that can serve as nuns quarters and, during intermission, an open snack bar. Everything’s in tip-top shape because when not taken over by a theater company, the site’s rented out for weddings and special events. There’s even a paved courtyard in front of the house – perfect for watching front-of-house performances but also everywhere else.
The pavers provide a flat space for several rows of intimate audience seating (like at Larsen’s The Foundry theatre venue, smaller means better and everyone has a perfect view). But wait! How do you see what’s happening in the field nearby, in the gazebo behind you or down toward the carriage house path? You sit in “swivel chairs,” that’s how. No need to bring your own chair or blanket, all seats are provided. Actually, these are comfy desk chairs on casters that spin completely around. We’re given a brief pre-show tutorial where we practice turning together to “follow the actors and action” and just check that we don’t bump elbows. The night I attended, no elbows were bumped and everyone had loads of fun being so actively engaged. If you tend to fidget when sitting too long, this show is definitely for you!
And to be honest, I believe being an “audience in the round” versus the more typical, yet still considered innovative “theater in the round” may be an ABSOLUTE FIRST! Here, the audience (as opposed to the stage) is literally seated in the center of all the action. We are physically immersed – but unlike typical “immersive theater,” there’s no need to get up and wander from room to room, always wondering if there’s something we missed. At the park, everyone can see, hear, and enjoy it all at the same time. The 7 pm showtime is also ideal. As the sun slowly sets toward the magical twilight hour (for me, the entire night felt magical), we bask in soft evening breezes and a moon above while spotlights begin to glow all around us.
My appreciation to The City of Wilton Manors, who was totally on board, for making sure the palm trees were trimmed (Salzburg is not known for its falling coconuts) and I’m happy to report a complete absence of mosquitoes! Ronnie rightfully opened by thanking the city and benefactors without whom none of us would be having the time of our lives. Of special note, the generous grant by executive producer Norman Extract, producer Jack Stein, POW! associate producer Joseph Guidetti and sponsorship by the SHS Foundation, The Warten Foundation, among many others (all listed on the program). And let’s not forget the essential creative team of music director David Taustine, casting by Harry Redlich, costumes and set dressing by Tim Bowman, and props by Edgar Maldonado.
But now to what counts most in any musical – the performers! It can’t have been easy to rehearse outdoors. Remember those two days of torrential rain that came after our endless weeks of drought? Well the late-afternoon downpours exactly coincided with the final two days of on-site rehearsals before the musical’s opening. Challenging, to say the least, for the actors, tech crew, and everyone involved. But the show must go on and it did, gloriously! Everyone in the audience was so captivated by the caliber of the acting, the beautiful vocals, music, and watching dancers hoof it on the grass … that we were often left breathless. That first performance night, and apparently every night thus far thereafter, was met with a standing ovation.
I was thrilled to see Abbey Alder cast in the role of a lifetime as Maria. It’s about time this local, reliable and gifted ensemble member – who always puts her heart and soul in every part, no matter how small – was pulled out of the chorus line and given the opportunity to shine! In portraying Maria, Alder proved herself to be a true triple-threat star; I forecast many more lead roles in her future. Ronnie, who also served as the musical’s director, recognized her talent and, to his credit, gave her the opportunity, along with several other up-and-coming younger actors.
Even Captain von Trapp is played by a young 2021 University of West Florida Musical Theatre graduate based in St. Augustine. Noah Peacock has several notable credits to his name, but I’m sure this role, too, marks a special milestone. Peacock’s voice and acting skills were impressive. And even if the bearded actor still looks rather young to be a Navy captain and father of seven, at least there’s no age-disparity cringe factor involved in watching his romance with lovely young Maria.
All those playing the von Trapp children are great theater kids, and locally experienced. With the exception of one spunky seven-year-old who I’ll name here so she can enjoy her first printed mention. Emily Brievyte, congratulations on your theater debut as the cutest little Gretl. You warmed our hearts and here’s wishing you great success in whatever comes next.
Trust me, while some of the actors are quite young and may be less experienced, this is nonetheless a 100-percent professional production that also features seasoned performers – popular local names you’ll recognize and distinguished out-of-towners. Starting with the sit-up-and-take-notice strong vocals of Irma Gloria as the Mother Abbess. Gloria cross-trained in musical theatre and opera, earning a Master of Music in Opera Performance … and it shows! She’s joined by notable locals Sister Berthe (Ali Macaulay), Sister Sophia (Leslie Kandel), and Sister Margaretta (Allie Woodside) in the delightful “How Do You Solve a Problem Like Maria” following Maria’s incorrigible need to roam the hills and sing out loud. (Loved Abbey Alder’s opening rendition of “The Sound of Music.”) Mother Abbess & Nuns also end Act I with an awe-inspiring “Climb Ev’ry Mountain.”
Most of us know and love all the songs; it’s hard not to hum along but we hold back in respect for fellow patrons and those talented performers. If I didn’t see regional favorite Betty Ann Hunt Strain’s name in the program as German-accented Frau Schmidt, I would never have guessed – she embodied the part of the strict housekeeper so perfectly. As did 50-year-experienced Michael H. Small, as Max, a versatile Silver Palm winner who’s performed at top theaters (locally and beyond) as well as in film,TV and clubs throughout the country.
