Stage Struck Review

Reviewing Theatre For Over 40 Years

A Tuneful Mash-Up: the new-old “Sound of Music” in Claremont

Sarah Elizabeth Combs as Maria, teaches the von Trapp children to sing in Candlelight Pavilion's "Sound of Music"

Sarah Elizabeth Combs as Maria, teaches the von Trapp children to sing in Candlelight Pavilion’s “Sound of Music”

The new, and extremely well performed production of “The Sound of Music” at Candlelight Pavilion Dinner Theater in Claremont provided another fascination I had not expected. The script sent from the Rodgers and Hammerstein Company is a mash-up of stage and screen versions which first appeared for the Broadway revival in 1998. Trying to honor both is a tricky business, and ends up making some attitude shifts a bit abrupt. It aims to appease the movie buffs yet leaves some of the characterizations from the starker stage original. Thanks to a good cast, the results are generally good, but a bit startling nonetheless.

Understand that the 1959 stage musical – the last written by Rodgers and Hammerstein, as Oscar Hammerstein died not long after it opened – is vastly different from the famed 1965 film in specifics, though not in general story line. For example, several songs, including the sardonic “How Can Love Survive,” “No Way to Stop It” and “Ordinary Couple” were removed for the film, and replaced with songs Rodgers wrote alone: “I Have Confidence,” and “Something Good.”

Though included in the stage version, “The Lonely Goatherd” and “My Favorite Things” were shifted to different scenes in the film, as was much of the chant-based religious music sung by the nuns. The Baroness out for Von Trapp’s hand is far more conniving in the stage version, with the scent of a collaborator on her as thoroughly as that on a decidedly less lovable Max. Anyone who sees the show in its original onstage version after falling in love with the film is bound to find the shift rather startling, and perhaps even disappointing.

At the Candlelight, they have handled this reimagining as well as one could hope. The Baroness is still a stinker, and “How Can Love Survive” underscores that, though it is the only one of the “dropped” songs to survive. “I Have Confidence” heralds Maria’s arrival at the Von Trapp household, and “Favorite Things” appears at the same spot – Maria’s bedroom during a storm – as in the film. “Something Good” replaces “Ordinary Couple” as the second act love song, and “Lonely Goatherd” has a brand new spot as the kids’ performance at the music festival. In the end, though a fine production, it leaves bits of character and story kind of hanging out there, while trying to be the best of both worlds.

Dimyana Pelev as the wealthy Baroness, and John LaLonde as Capt. von Trapp

Dimyana Pelev as the wealthy Baroness, and John LaLonde as Capt. von Trapp

Fortunately, a really fine batch of performers keeps too much from getting lost in the interweaving of story lines. Sarah Elizabeth Combs has an innate sweetness, a lovely voice, and enough gumption to make a charming Maria. John LaLonde makes a commanding figure as Captain von Trapp, though one wishes he had the chance to build up his singing of “Edelwiess” enough to make his emotional catch make sense.

Kim Blake gets better and better as the Mother Superior. Jod Orrison, Valerie Jasso and Kate Lee cluck and hover appropriately as the other rather critical nuns. Dimyana Pelev, despite a mildly unfortunate wig, makes a neatly calculating Baroness Elsa, while Frank Minano has fun with the sponging Max. Zack Crocker makes a charmingly youthful Rolf, and Courtney Cheatham matches him neatly as the adolescent Leisl.

The other children, Katie Ochoa, Matthew Funke, Haven Watts, Wyatt Larrabee, Brooklyn Vizcarra and Alison Bradbard the night I saw it (most are double-cast) are almost surprisingly good for a company this size. They sing and dance well, virtually all of the time, and work together as a unit to excellent effect. This sense of polish extends to the small but well utilized ensemble which supports these major players.

Director Douglas Austin has worked particularly hard to create the sense of ensemble, particularly between the main adults and the children. The results are self-evident, as the show flows as smoothly as this new script will let it. Chuck Ketter’s scenic design manages to make that tiny stage look mansion-like, which is no small feat. The lighting design of Steve Giltner works as well as possible, given a technical glitch or two.

In short, the results of this production are more charming than not, once you get over the differences from what you expect. It’s perfect family fare, and comes complete with a fine dinner (including kid-friendly fare) so another generation can fall in love with the girl who unites a family through music and evades the Nazis through love. That it bears only vague resemblance to the actual story of the actual Von Trapp Family Singers long ago became inconsequential.

What: “The Sound of Music” When: Through March 24, Thursday through Saturday dinners at 6 p.m., Sunday dinners at 5 p.m., with Saturday and Sunday brunch at 11 a.m. Where: Candlelight Pavilion Dinner Theatre, 455 W. Foothill Blvd in Claremont How Much: $53 – $68 adults, $25 children 12 and under, meal inclusive Info: (909) 626-1254 ext 1 or

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