Theater review: ‘Sound of Music’ brings its timeless appeal to the Fox

Through March 6. 7:30 p.m. March 2-3; 8 p.m. March 4-5; 2 p.m. March 5; 1 and 6:30 p.m. March 6. $33.50-$125. Broadway in Atlanta, Fox Theatre, 660 Peachtree St. N.E., Atlanta. 1-855-285-8499, www.foxtheatre.org.

Bottom line: Still good.

The Rodgers and Hammerstein chestnut starring Mary Martin on Broadway (1959) and Julie Andrews on film (1965) arrived at a time when splashy, family-friendly musicals were the bread and butter of Hollywood. The tale of a would-be nun who falls in love with an Austrian widower and his passel of adorable children, “The Sound of Music” swept the 1966 Oscars and planted the lyrics of “Do-Re-Mi” and “My Favorite Things” into the American psyche.

Compared to the dark material of “Spotlight” and “The Revenant,” and the controversy that roiled this year’s Oscar party, the von Trapps and their “Edelweiss” go down like cotton candy and soda pop. (Or perhaps I should say “crisp apple strudels” and “schnitzel with noodles,” to quote “My Favorite Things.”)

So while it’s easy to file “The Sound of Music” in the same box as “My Fair Lady” and “The King and I” — all three musicals concern sparky young heroines who steal the hearts of men a few steps up the social ladder — it’s just as easy to forget that the romance occurs in 1938, on the eve of Nazi Germany’s invasion of the von Trapps’ native Austria.

As one who apparently swept the political aspects of “The Sound of Music” under the rug of childhood memories, the show that arrived at the Fox Theatre on Tuesday was a revelation to me.

As directed by Broadway’s Jack O’Brien (“Hairspray,” “The Full Monty”) and choreographed by Danny Mefford, “The Sound of Music” is beautifully conceived, handsomely designed, nicely sung and danced — and features one of the cutest children’s ensembles you’ll ever see. Like the real-life Maria Augusta von Trapp, whose autobiography inspired “The Sound of Music,” the onstage Maria (played here by the radiant Kerstin Anderson) falls in love with her stepladder brood of seven first, then with their father, Captain von Trapp (Ben Davis).

This is not to say that the musical, as written, is perfect, by any means.

The top of the show, during which the Mother Abbess (Ashley Brown) gently urges daydreaming Maria to consider a life outside the cloister (“Climb Every Mountain”), plods along somewhat tediously. Howard Lindsay and Russel Crouse’s book — which has Maria tripping back and forth from kids to convent more times than I can count and inserts a romantic rival in the person of the grand Elsa Schraeder (Teri Hansen) — is a bit clunky, too.

But the camaraderie between Maria and her charges is lovely and affecting — even if Davis’ take on their uptight papa feels a bit bland. Among the youngsters, Paige Silvester’s Liesl, Quinn Erickson’s Kurt, and Audrey Bennett’s Gretl are standouts. Supporting players Merwin Foard (as Max Detweiler) and Dan Tracy (as the duplicitous young Nazi Rolf Gruber) give strong performances, too.

Douglas W. Schmidt's scenic design (from convent to Alpine estate) cleverly employs a dainty crochet motif to cover surfaces. Jane Greenwood's costumes, from sailor suits for the kids to military garb for the men and a flowing wedding gown for Maria, are impeccable crafted. And Natasha Katz washes it all in sumptuous lighting. (Note the way the light dances through the church windows during the marriage ceremony.)

I wasn’t sure if this old-fashioned musical would still resonate after all the years. But in the end, it’s more than just “raindrops on roses” and “whiskers on kittens.” It’s a timeless tale of ominous social upheaval in which love wins and the music never lets you down.