The Sound of Music, Pitlochry Festival Theatre

Pitlochry Festival Theatre 27/11/2025

The Sound of Music, a Pitlochry Festival Theatre Production

Music by Richard Rogers, Lyrics by Oscar Hammerstein, Sam Hardie (revival director), Richard Reeday (musical director)

Opening on Broadway 1959, at the Palace Theatre in London in 1961 with the movie on screen in 1965, this musical has proved to be the enduring success of all time. Loved for its gorgeous score by Rogers and Hammerstein and its inspirational story it resonates with audiences across the western world, particularly relevant in these times. Escaping from the Anschluβ, the annexing of Austria into Hitler’s Germany in 1938, it is a love story between a naval commander and a novice nun/governess of his six children. What could be better? This is so at Pitlochry with the Theatre bringing the production back as its festive offering for the second year. I can remember it running at The Palace Theatre in the West End when I was dancing at The Prince of Wales Theatre, managing to sneak into a matinee. Also having tickets for Andrew Lloyd’s production at the London Palladium in 2007.

Pitlochry certainly has a hit on its hand. I expect the much awaited ‘My Fair Lady’ will succeed in this festive slot next year.

The opening sequence with the nuns of Nornberg Abbey singing the Preludium struck shivers down my spine. Not for the beautiful harmonies but the fact I had attended a catholic high school and have memories of Mother Mildred standing at the foot of the stairs with her glass eye, checking that us girls were not talking. A terrific opening and straight into ‘Climb Every Mountain’, sung magnificently by the Mother Abbess played by Kate Milner Evans.

Enter Maria, played by the talented Kirsty Findlay. Having seen her in Pitlochry’s production of ‘Beautiful, the Carole King Musical’, this talented award-winning performer and musician, with her curly red hair, always brings energy and character to every role she takes on. I have nothing but admiration for her and I hope she is recognised by the media. Captain Georg Von Trapp is played by returning Ali Watt. Perfect casting.

Of course, the show is stolen by the Von Trapp children. Two teams of various ages carefully directed by revival director Sam Hardie from the original by Elizabeth Newman, who was poached by Sheffield Theatres before handing over to Alan Cumming, the new artistic director. They are delightful and navigate the difficult set with ease.

All other parts, and there are many, are played by actor/musicians/singers. This is an achievement since it is a complicated show. They handle it with skill and professionalism. Handling costume changes, changing instruments and tackling the score, which has been adapted for a small ensemble by Richard Reeday. The audience are expecting a full orchestral sound, and they succeed in part.

The whole production runs for two and half hours, with the first half quite a bit longer than the second. My seven-year-old grandson sat through it only getting fidgety near the end.

Costume design is disappointing as is the set design. If audiences are expecting the glorious back drop and colourful tones of the film, they will be disappointed. The set comprises of a dark mountain backdrop, and in front a black and white steps revolve, which takes up most of the stage, leaving a fairly small playing area. The cast nip up and down them with professional ease, achieving their daily step count. Internal scenes are depicted by performers bringing on various props or furniture. I was hoping the sky might lighten up at some point. I presume the dark environment reflects the clouds which are threatening Europe. A lesson to the audience today.

The show runs until 20th December with multiple matinees and limited ticket availability. Go see it if only for the luminous Kirsty Findlay.

Photo credit: Tommy Ga-Ken Wan