As a NSTA representative, I had the privilege of attending the Reigate Grammar School production of The Sound of Music on Saturday 6th December 2025. Under the expert direction of Miss Marianne Hare, the show was a lively and charming extravaganza. This much-loved musical demands energy and enthusiasm, and Reigate Grammar School delivered from start to finish, leaving the audience enthralled throughout.
The Sound of Music is a classic 1959 Rodgers and Hammerstein musical on the true story of the Von Trapp Family Singers. It follows Maria, a spirited postulant who becomes governess to the seven children of a widowed naval captain, bringing new life, joy and music into their home. As Maria and the Captain fall in love, the family ultimately flees Austria to escape Nazi occupation, choosing freedom and integrity over safety. The musical premiered on Broadway in 1959, opening in the West End production in 1961 and inspired the iconic Julie Andrews film adaptation in 1965. The Sound of Music won five Tonys in 1960, including Best Musical, and a Grammy Award for Best Musical Show Album.
The opening number set the tone: excellently sung, well-choreographed and enriched by imaginative touches, such as the butterflies, that made the scene even more enchanting. Sarah, as Maria, was flawless. Her rendition of the title song immediately assured the audience they were in safe hands. She showed charisma, vocal beauty, and a remarkable ability to shift between Maria’s joy, tension, love and spiritual conflict. Her performance demonstrated great skill and commitment. Sarah left an ever-lasting impression on the audience and ensured this musical was a huge success. The role of Maria was double cast, and I have no doubt that Lola’s performance as Maria was every bit as captivating.
As Captain Von Trapp, Fergus’s cool, commanding presence in Act I slowly softened into a portrait of tenderness and vulnerability, punctuated by moments of endearing awkwardness delivered with impeccable comic timing. By Act II, the slight tremor in his voice and the strained emotion on his face during the singing competition transformed the scene into something unexpectedly poignant, eliciting genuine empathy from the audience. The chemistry between the two leads, Sarah and Fergus, was unmistakable; the scene where they realise their feelings for each other – full of awkward glances and soft, hesitant movements fumbling – was beautifully played.
The leads shone all the brighter thanks to the supporting cast’s confident and charismatic performances. Sofia brought confidence to the stoic Frau Schmidt, and Elliot delivered great comic timing as the energetic ‘uncle’ Max. The seven children were joyous; their charm, chemistry and enthusiasm were central to the production’s success; Gabby, Tom, Bethany, Ben, Amy, Tess and Sophia, each brought individuality and warmth to their roles. Their scenes with Maria were also expertly performed and choreographed. Gabby’s youthful Liesl and her heartfelt “Sixteen Going on Seventeen” with Eddie as Rolf was a particular highlight. Sylvie delivered a precise and compelling performance as Elsa, perfectly capturing Maria’s poised yet jealous foil. Her dislike of Maria was evident through subtle gestures and carefully controlled facial expressions. Sophie was an exceptional Mother Abbess, bringing a powerful and inspiring presence to the stage. Her rendition of “Climb Ev’ry Mountain” was a true show-stopper, filled with emotion and vocal strength.
The ensemble moments were equally impressive. “Do-Re-Mi” proved a standout, blending choreography, acting, and singing into a joyous, unified performance that had the audience smiling and clapping along. Such cohesion reflects the hard work and mutual trust shared between the cast and creative team. With a large ensemble – sometimes more than forty pupils on stage at once – maintaining clarity and coordination is no small feat, yet under Miss Hare’s direction it was managed with remarkable finesse. The singing, harmonies, dancing, and acting were executed with striking precision, not a single beat or note out of place.
Miss Lucy Burns’s design work was superb, with every technical element enhancing the production’s impact. The costumes – from the nuns’ habits and naval uniforms to Maria’s dresses and the children’s colour-coordinated pyjamas – were crafted with thoughtful detail that supported both character and story. Clever set choices, including floral staging, projected crosses, and understated Nazi insignia, sustained the atmosphere throughout while allowing for smooth, unobtrusive transitions.
What stood out most in Reigate Grammar School’s production of The Sound of Music was the sheer joy radiating from the cast. Their professionalism – evident in the effortless ensemble cohesion, beautiful singing, and strong onstage chemistry – made the performance consistently engaging. The comic moments landed with charm, while the more poignant ones, particularly “Edelweiss”, were genuinely moving. This was a sophisticated, meticulously rehearsed production and, judging by the reaction of audience members as I left, one that truly captivated everyone present.
National School Theatre Awards
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