The Curve’s new staging of The Sound of Music revisits the Rodgers and Hammerstein classic with unexpected shadows. While rooted in the familiar true story of Maria Rainer, Nikolai Foster’s production leans into the darker edges of the narrative, weaving moments of unease through the show’s trademark yodelling charm. It has been some time since I last watched the Julie Andrews film, but there is no doubt that this incarnation is considerably less sugar-coated. Beyond the warmth of the family choir and the uplifting message of rediscovering love, this Christmas-season offering is laced with themes of betrayal, loss, and political tension.
Before that darkness settles in, Michael Taylor’s stunning set offers a breathtaking Alpine vista. Sweeping mountains, real trees, and even a water feature that enriches Maria’s opening number.
Returning to The Curve after their standout turns in last year’s My Fair Lady, Molly Lynch and David Seadon-Young lead the cast with charisma and vocal power. Lynch’s Maria is warm and reassuring, her maternal instinct radiating in every interaction with the von Trapp children. Once her accent settles in the opening number, her musical performances are consistently outstanding.
Seadon-Young presents a Captain von Trapp who’s perpetually on edge, too burdened by personal turmoil to project the usual authoritative presence. His “Edelweiss,” however, is utterly breathtaking, and while his connection with Lynch is palpable in moments, his character’s overall emotional transformation feels rushed, leaving a slight sense of incompleteness in the relationship.
Joanna Riding is outstanding as Mother Abbess, delivering the role with both gravitas and tenderness, while Leonie Spilsbury, Keanna Bloomfield, and Megan Ellis offer a delightfully lively and comedic “Maria.”
Faye Brooks offers a poised, calculating Elsa Schraeder, her glamour thinly veiling opportunism, while Minal Patel is excellent as Max Detweiler, a morally dubious charmer.
As Liesel, Aviva Tulley shines, pairing beautifully with Christian Cooper’s earnest Rolf in “Sixteen Going On Seventeen”. On press night, the younger von Trapp children – Leo Hollingsworth (Friedrich), Matilda Hennessy (Louisa), Theodore Tratt (Kurt), Isla Granville (Brigitta), Georgia Riga (Marta), and Mimi-Kamara-Clarson (Gretl) – bring infectious joy and vocal clarity to every scene. The von Trapp children’s numbers are charming, thanks to Ebony Molina’s choreography.
George Dyer’s musical arrangements breathe new life into the classic score. “My Favourite Things” gains a folksy acoustic energy, while the ballroom music carries a subtly threatening undercurrent that amplifies the story’s political backdrop. Combined with Molina’s choreography that gives the elegant waltz an unsettling, tango-like edge, these arrangements heighten the production’s more complex tone.
The Curve’s The Sound of Music is deeply charming, but not in the cosy, nostalgic way audiences might expect from a festive revival. Instead, it offers a richer, more nuanced exploration of a beloved story, balancing family warmth with a palpable sense of foreboding. With exceptional vocal performances, striking design, and a thoughtful reimagining of the score, this production stands as a bold and compelling take on a classic.
Book tickets before the final performance, which runs until Saturday 17 January 2026, at https://www.curveonline.co.uk/whats-on/shows/the-sound-of-music-2/
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Katie Reviews 