Fond du Lac Community Theatre presented the beloved, classic, Rodgers and Hammerstein musical

"The Sound of Music"

on two consecutive weekends, on  March 6, 7, 8, 13, 14 & 15,  2003 at 7:30 P.M.  The two matinees were on March 9 and 15 at 2:00 P.M., all at the Fond du Lac High School PAC.

    The Fond du Lac Reporter newspaper printed a review of "The Sound of Music," as well as another article exploring the show's relevance.  They also appeared on-line, on the Reporter Web Site.  They are both reproduced below:

Community Theatre’s ‘Sound of Music’ draws joyous enthusiasm from audience

Written by John Silah, special to the Reporter.  Posted March 11, 2003

Rodgers and Hammerstein’s music infuses joy into an audience the same way it brings joy back into the Von Trapp home.

Fond du Lac Community Theatre’s opening night audience of more than 450 responded enthusiastically, singing along with “Edelweiss.”  (and giving the cast a standing ovation.)*

With a large cast, a 17-piece orchestra led by Phil Conrad, and a production crew of 46, the total number of people involved is 110. The logistics of what it takes to mount a production of this magnitude is staggering, and so is the budget, and the fact that it all works together so well is almost a miracle.

With a real-life nun in the cast, Sister Judith Schmidt as “Sister Berthe,” maybe the nuns’ prayers helped, but the vast pool of local talent, far too many to mention, didn’t hurt.

The lead roles in this show are demanding. “Maria” must be a singer, dancer, actress, and it would help if she could play the guitar.  So, “How Do You Solve a Problem like Maria?” Cast Angie Otte, who does a marvelous job, and even plays her own guitar.

“The Captain” must sing, dance and act, working through a character arc from stern to lovable. Lyle Goebel is up to the challenge, with a fine voice.  They may want to be “An Ordinary Couple,” but their talents are not ordinary.

In the real world, a Mother Abbess is not chosen for her voice, but it is traditional for this musical. Lynn Moon is a wonderful choice here, as she was in last year’s “Cole.”  Her voice inspires Maria to “Climb Every Mountain.”

Nancy Johnston was memorable as the irascible nun, “Sister Robert Ann,” in “Nunsense.” There are tons of nuns in this one, but Nancy isn’t one. She is not out of the habit of performing, however, as she sings, “How Can Love Survive?”

John Newman adds a German accent to his inspired comic touch, as he works with the children, reminiscent of his “Fagan” working with the young pickpockets in “Oliver”. John would make a good Pied Piper, but then he has already been a standout in 26 previous roles.

The Von Trapp children, played by Simeon Ball, Jennifer Kruger, J.D. Halsey, Jackie Willis, Erica Scharf, Leah Goebel, Erin Cole and Marie Holzmann, are endearing, and they harmonize well, too.  Marie’s “Liesl” may be “Sixteen Going on Seventeen,” and Clark Ausloos, who plays “Rolf,” is young also, but their voices put them on a par with the adults.

Typical of the Community Theatre spirit is the fact that many actors who have portrayed lead characters in other shows are willing to contribute their talents to supporting roles, making even those worth watching. Watch for Kathy Hilbert, Will Meyst and Ann Yockey.

The production is lavish. Jan Stoegbauer and her crew of 11 managed to put together enough costumes for all 47 cast members, plus more for costume changes, with some welcome help with the children’s costumes from Rosendale’s RB Players. The rumor that Jan bought out all the black fabric in town for the 15 nuns’ habits is slightly exaggerated.

The impressive Von Trapp villa set was too large to be built entirely at the Community Theatre building, so the second story was added when they moved to the taller Performing Arts Center at Fond du Lac High School.  Mike Stahowiak and his crew did a great job, as did Niki Lehmann, the choreographer, Mary Runde, the stage manager, Steve Hilbert, the light board operator, and the rest of the crew.

The multi-talented Todd Whittaker is directing the musical. He is assisted by Dan Bushner. Dan also operates the soundboard, balancing 14 wireless microphones.

Overall, the unforgettable songs and inspiring story make “The Sound of Music” a show that audiences love to enjoy again and again.  The show runs Thursday, Friday and Saturday, March 13, 14 or 15 at Fond du Lac High School Performing Arts Center. This musical is one of “My Favorite Things.”

* (The portion in parenthesis above was left out of the review by the Reporter, both in the newspaper and in the on-line posting.)

Themes in ‘The Sound of Music’ still relevant today

Written by John Silah, special to the Reporter

It was Richard Rodgers’ 100th birthday in 2002, or would have been, had the musical genius lived that long.  The composer’s legendary collaboration with lyricist Oscar Hammerstein II produced the most popular musical smash hits that Broadway and the rest of the world had ever seen.

Fond du Lac Community Theatre is celebrating Rodgers’ birthday by presenting his most popular hit. In our troubled times, a life-affirming choice like this is quite appropriate.

“The Sound of Music” has been popular for 44 years since its debut in 1959. This enduring classic has outlived Rodgers, Hammerstein and even the real Maria Von Trapp, who died in Vermont in 1987 at age 82.

One of the reasons for its continuing success is that its themes still resonate with today’s audiences, perhaps today more than ever.  The story touches on our longings for peace, especially in times of war; the characters in the musical struggle with this problem.

“What’s going to happen is going to happen. Just don’t let it happen to you,” says the Von Trapp’s friend, Max. “The thing today is to get along with everyone.”  “Be wise, compromise,” he sings with Elsa. Then they tell the captain that there is “No way to stop it.”

They reflect the policy of appeasement that inadvertently led to World War II, and ultimately almost led to the Nazi conquest of the world. Their attitude is understandable, considering the position that Austria was in at the time. As Max comments, “You don’t outwit a lion by putting your head in the lion’s mouth.”

Many years after the war, the real Mrs. Von Trapp sent a mass mailing to many people, including this reviewer. In her letter, Maria warned of the rise of the Ku Klux Klan at that time, comparing it to the rise of the Nazi Party in pre-war Germany.

Today we face a similar problem, and the parallels to the Nazi dilemma are eerily familiar. Do we try to get along with ruthless dictators such as Saddam Hussein, appeasing them as we did Hitler? Or do we recognize them as the international war criminals that they are and do something about it?

It is a choice that involves the conflict between the sovereignty rights of nations and the concept of universal human rights, and between the rights of governments and the rights of their people. It is a tough choice, and one to which no one seems to have the definitive answer.

It is ironic that a musical so filled with joy, as Rodgers and Hammerstein’s are, can also deal with these kinds of disturbing questions. Although to accurately portray the true World War II story, one would have to say something about the problem.

It is a tribute to their genius that the show can do that, while remaining so entertaining. Or is it these discordant elements themselves that give this musical its resonance, and therefore its classic stature?

"The Sound of Music" was presented through a special arrangement with The Rodgers and Hammerstein Theatre Library, 229 West 28th Street, 11th Floor, New York, New York 10001.

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