Review: The Sound of Music Tours Again, Beautifully Relaunching at the Kennedy Center

With a rich 65-year history on stage and six decades of memories from the Oscar-winning film, bringing a fresh perspective to The Sound of Music can be a challenge. Quite frankly, the beloved Rodgers & Hammerstein/Lindsay & Crouse classic doesn’t need much reinventing.

Still, director Jack O’Brien’s touring production, which originally hit the road a decade ago and is now making a relaunch at the Kennedy Center through Oct. 5, strikes an excellent balance—introducing subtle, thoughtful updates while preserving the enduring charm that has captivated audiences for generations.

Of course, the timeless score, thanks to music by Richard Rodgers and lyrics by Oscar Hammerstein II, is still a treat no matter how old you are, and Robert Russell Bennett’s orchestrations sound magnificent in the Kennedy Center’s Opera House.

Through Cayleigh Capaldi’s radiant performance as Maria, the songs soar. Her voice brings warmth, joy, and a sense of wonder, making numbers like “Do-Re-Mi” and “My Favorite Things” feel fresh, heartfelt, and utterly unforgettable.

Capaldi plays effortlessly off a dashing Kevin Earley as Capt. von Trapp, whose stern resolve slowly softens as Maria brings warmth and joy into his life. Earley is utterly convincing as the strict, almost heartless commander, which makes his eventual transformation even more satisfying. Together, Capaldi and Earley capture the true tenderness of the couple and their voices blend brilliantly when singing together or with the children.

Christiane Noll is divine as Mother Abbess, who bucks tradition of going full powerhouse belt with “Climb Every Mountain,” instead delivering something more subdued and hauntingly beautiful.

Then there’s Max Detweiler, traditionally depicted as a comedic, flamboyant man, who is given a new spin by D.C. favorite Nicholas Rodriguez. Rodriguez portrays him as both a charismatic showman and a bit of a scoundrel, all while maintaining fidelity to the original dialogue and music.

One thing that hasn’t changed is the charm of the seven von Trapp children, who bring smiles with every “Do-Re-Mi.” Benjamin Stasiek stands out as Kurt, gleaming in every line, while Haddie Mac’s all-knowing Brigitta is a delightful discovery. There isn’t a weak link in the group: Ava Davis (Louisa), Eli Vander Griend (Friedrich), Ruby Caramore (Marta), and Luciana Vandette (Gretl) each get memorable moments and deliver them with aplomb. The children’s version of “So Long, Farewell” is just pure delight.

Ariana Ferch shines as Liesl, capturing the spirit of “16-going-on-17” with just the right balance of youthful playfulness and big-sister warmth. Her chemistry with Ian Coursey’s Rolf is charming at first, but as his character turns, Coursey pushes so hard into menace that the portrayal risks slipping into caricature.

The harmonies of the ensemble are also top-notch, especially in the chorus of the nuns at the Abbey, who bring an angelic feel to their songs.

The sets by Douglas W. Schmidt had a subtle elegance, but I wish they had conveyed more of the majesty of the mountains and the expanse of the von Trapp estate. Some scenes felt a bit repetitive in the use of space, which was a bit disappointing. Jane Greenwood’s costumes showed a lot of whimsy, especially with Maria’s amusing outfits when she comes from the Abbey and the humorous play clothes donned by the children. Natasha Katz’s thoughtful use of light and shadow infused the production with depth and emotion, most strikingly in the final scene as the von Trapps conceal themselves from the Nazi soldiers.

As a life-long fan, the uplifting songs, tender heart, and joyful spirit are just “a few of my favorite things. This version of The Sound of Music conveyed it all perfectly.