Jack O’Brien’s touring production of Rodgers and Hammerstein’s beloved musical The Sound of Music at TPAC thru Sunday, October 18, delivers gorgeous vocals, grand theatrical storytelling and a timely reminder that love, hope and the courage to stand up for what’s right never go out of style.
Sharing a birth year (yes, I’m that old) with the iconic film adaptation I’ve watched the movie version of The Sound of Music pretty much every year of my life. I’ve seen previous national tours, along with numerous regional and local productions over the years. So, admittedly, I, like most, arrived at TPAC’s Jackson Hall with all the familiar melodies, memorable characters and iconic moments already tucked away in my memory. But something rather wonderful happened this time around: I found myself really listening to the lyrics. And in doing so, I discovered a fresh appreciation for a nostalgic family favorite I thought I knew inside and out. My date for the evening, a huge fan of the film, had never seen the original stage musical, adding another layer to our evening, as she discovered songs omitted from the film that remain in this faithful return to the hills. And, yes, in case there’s any doubt, the hills are indeed still alive with The Sound of Music.
That’s the magic of Rodgers and Hammerstein’s legendary work. Beneath the songs we can practically sing in our sleep is a story with a great deal more on its mind than nuns, children, curtains-turned-playclothes and a certain troublesome case of the yodeling goats. This is a story about finding where you belong, learning to love when life takes an unexpected turn, protecting the people who matter most and finding the courage to stand up for your convictions when doing so comes at a cost.
The current national tour, directed by Jack O’Brien, delivers all the warmth, romance, humor and heart audiences expect, while allowing the show’s more serious themes to resonate without weighing down its infectious spirit. It’s an uplifting theatrical experience, beautifully sung and staged with the sort of attention to detail that makes spending an evening with an old favorite feel like a genuinely special occasion.
At the center of it all is Cayleigh Capaldi as Maria, the spirited postulant whose restless nature and love of music make her a less-than-perfect fit for convent life. Perhaps looking more like our ideal of Beauty and the Beast‘s Belle than the embedded Julie Andrews image many have of Maria Rainer, Capaldi brings an appealing freshness to the role, capturing Maria’s exuberance, vulnerability and determination without turning her into a one-note bundle of sunshine. Her vocals are lovely. More than lovely, she approaches the beloved tunes with vitality and she handles the score’s familiar melodies with warmth and clarity, Immediately making Maria her own. Whether she’s introducing the von Trapp children to the joys of singing or discovering that her own heart has plans she never anticipated, Capaldi makes Maria’s journey feel sincere and relatable. There’s a reason this character has enchanted generations of theatergoers, and Capaldi gives us plenty of reasons to fall for her all over again.
Kevin Earley is equally compelling as Captain Georg von Trapp. Initially stern and emotionally guarded, Georg has built his household around discipline and order in the wake of personal loss. Earley gradually reveals the tenderness beneath that carefully maintained exterior, allowing the captain’s transformation to unfold naturally rather than rushing toward the inevitable romance. His chemistry with Capaldi gives the relationship a convincing emotional foundation, and his performance of “Edelweiss” is a particular highlight. It’s a deceptively simple song, but in Earley’s hands it becomes a crystal clear, heartfelt expression of love for a home and a country whose future is growing increasingly uncertain. Listening to those lyrics in the context of the story gives the moment an emotional weight that’s easy to overlook when the melody is so familiar. Add to that the current state of our own tenuous political climate and it creates a moment all too real.
Then there’s Lisa Howard as the Mother Abbess. Having only recently joined the tour last month, Howard brings a commanding presence and goosebump-inducingly beautiful vocal power to the role. Howard understands that the Abbess is more than a wise spiritual guide who appears to dispense a bit of well-timed advice. She is a woman who recognizes Maria’s gifts and knows that a life of faith sometimes requires trusting the path that leads beyond the convent walls. Howard’s “Climb Ev’ry Mountain” is a stirring showcase, delivered with the kind of soaring, full-bodied vocals that make you want to sit back and let the music wash over you. It’s one of those numbers that reminds you why hearing a great musical performed live is an experience no movie soundtrack can quite duplicate. I have a confession for the Mother Abbess. Listening and watching her command that stage…and the audience in one of the show’s more personal moments, I was awash with emotion, so much so that my “eyes began to sweat”.
As Elsa Schraeder, Kate Loprest brings welcome dimension to the Baroness, Georg’s sophisticated, gorgeous and wealthy romantic interest. In the hands of lesser talent, Elsa could easily be played as the obstacle standing between the captain and Maria, but Loprest gives her intelligence, polish and a very human understanding of what she wants from life. There’s a believable charm to her performance, and she makes Elsa more than a convenient plot device. Nicholas Rodriguez is also a delight as Max Detweiler, the charming, opportunistic family friend whose wit and social savvy provide some welcome comic relief. Rodriguez gives Max plenty of personality, balancing his playful nature with an awareness of the increasingly dangerous political climate surrounding them. Perhaps it’s my own observation, but as presented this go-round, Max’s flamboyance is giving closeted, making his political leanings yet another layer. It’s also most hidng in plain sight or if you can’t be ’em, join ’em vibe. Still another mirror to today’s world and the ever-perplexing Log Cabin Republican.
Ariana Ferch brings a lovely combination of youthful excitement and vulnerability to Liesl, the eldest von Trapp child. Her performance of “Sixteen Going on Seventeen” captures the dizzying thrill of first love, even as IYKYK audience members may recognize that the romance she imagines is not quite as straightforward as she hopes. The number is a charming highlight, and Ferch makes Liesl’s coming-of-age story an engaging part of the larger family portrait. But that’s not the extent of Ferch’s approach to the eldest von Trapp. Her initial hesitation to foster a relationship with the latest governess seems genuinely to come from a place of a guarded heart, rather than a spoiled oldest child, making the eventual mutual respect and friendship she shares with Maria all the sweeter.
As Liesl’s would-be young suitor, Dylan Bradford‘s Rolf manages to portray both falling in love and falling in line with conviction. Again, though most watching know their relationship is doomed, Bradford and Ferch are so compelling in their portrayal of young love that we all hope against hope that love will inevitable win out.
And what would The Sound of Music be without the rest of the von Trapplings? (YES, I completely stole that moniker from my recent chat with Earley who used it in reference to his young costars in my latest Rapid Fire 20Q with members of the company) Each and every one of the young performers bring plenty of personality and enthusiasm to the production, creating a convincing sibling dynamic that helps the family feel like a family rather than a collection of talented youngsters waiting for their musical cues. Cooper Johnson‘s Frederich shows eagerness to step up into the man of the family role, yet retains a youthful uncertainty. Lilly Belle Lanese‘s Louise possesses one of the most incredible voices of the younger cast. As Kurt, Charlie Palmer‘s playfulness infectious. Stormie Piper Trevino‘s little instigator, Brigitta, whose observances become pivotal to the romantic rise, is a firecracker. Rory L. Prichard‘s Marta exemplifies the sweetness of a young girl eager to bond with her new governess. Emma Rose Marinoff‘s Gretl is a pint-size scene stealer. “Do-Re-Mi” is every bit as delightful as it should be, while “So Long, Farewell” delivers that irresistible blend of playfulness and charm that has made it a perennial audience favorite. The children are an essential part of the show’s charm, and this ensemble gives the musical plenty of heart.
Among the supporting performances, Laura Stracko makes a welcome impression as Frau Schmidt, the von Trapp household’s housekeeper. Having joined the tour recently following her recent stint in the National Tour of Suffs, she seamlessly brings a grounded, reassuring presence to the household, helping establish the everyday rhythms of life in the estate as the world outside grows more complicated. And, listen, even from the back of the house, when Stracko’s Frau Schmidt throws a disapproving glance, you feel it. As Franz, the von Trapp family butler, John Adkinson is the perfect combination of snark and secrecy as his loyalties shift from the family to the third reich. Daniel Robert Sullivan gives Herr Zeller the sternness and self-assurance the character requires, providing a chilling reminder that the political threat developing around the family is not merely something happening in the background. Sullivan’s Herr Zeller is brutish without stepping into stereotype or caricature. These roles may not command the spotlight in the same way as Maria or the captain, but they contribute meaningfully to the world of the show.
Oh, and can we talk about The Sound of Music‘s very own Sister Act? Alongside the aforementioned Lisa Howard as Mother Abbess, Charlotte Jenkins as Sister Margaretta, Connor Lyon as Sister Sophia and Lisa Rosetta Strum as Sister Berthe are, well, heaven-sent! When the curtain rose at the top of the show and the sisters began “Preludium”, I leaned over and to my theatre companion and said, “I usually skip this part when watching the movie”, but I’m here to tell you…live, on stage, as performed by these talented vocalist, it’s breathtaking. Bookended by the show’s closing “Finale Ultimo”…a little taste of perfection from beginning to end.
The production values are every bit as transporting as the score, with scenic designer Douglas W. Schmidt delivering the kind of grand, sweeping backdrops that call to mind the glory days of old-school Broadway musicals. The Abbey and the von Trapp estate are especially impressive, each establishing a distinct sense of place while giving the story room to unfold on an appropriately expansive scale. Even the movement of the tracked scenic panels, as walls follow actors to transition from one scene to the next, is impressive.
Even the use of projected backdrop imagery is woven into the scenery so seamlessly that it never feels like a technical shortcut; instead, it deepens the atmosphere and makes each setting feel wonderfully alive. One particularly beautiful touch comes inside the Abbey chapel, where shafts of smoky, ethereal light appear to stream through the stained-glass windows. The effect is so convincing and so naturally integrated into the scene that you could easily mistake it for actual light filtering through real glass rather than a carefully crafted theatrical illusion. It’s a lovely example of how the work happening behind the scenes can create a little stage magic without ever calling attention to itself. It’s also a testament to the advances in technical aspects made since the show debuted on stage more than 65 years ago, and how they are being used to bring this story to modern audiences. That’s not to downplay Natasha Katz’s actual lighting. Katz’s skilled traditional lighting effects, blended with the latest advances in tech add dimension and atmosphere, enhancing both the intimate moments and the production’s larger theatrical images, Jane Greenwood’s costumes help establish the characters and their world, from the formal elegance of the adults–I’m looking at you Baroness–to the practical, playful outfits that become part of Maria’s transformation of the children’s lives. Under O’Brien’s direction, the various elements work together to create a polished, engaging production that understands the importance of spectacle while never losing sight of the people at the center of the story.
Of course, the music remains the beating heart of The Sound of Music. “My Favorite Things,” “The Lonely Goatherd,” “Climb Ev’ry Mountain,” “Edelweiss” and the title song are woven so deeply into popular culture that it’s easy to take them for granted. Yet hearing them performed live, in the context of the story and by a cast that embraces both their musical demands and emotional meaning, brings them back into focus. Elevating the experience, there’s also tunes like “How Can Love Survive?” and “No Way to Stop It” that were cut from the 1965 movie, but are in full effect in the stage musical, potentially giving even the most ardent fan of the film something new to add to their list of favorite things. Added Bonus: both of these numbers feature Max and Elsa, rightfully bolstering their presence in the action of the musical. The score is full of melodies that invite you to sing along, but the lyrics also tell us who these people are, what they fear, what they hope for and what they’re willing to risk.
That deeper meaning becomes especially apparent as the story moves toward its final act. The von Trapps’ decision to resist the forces attempting to claim their allegiance gives the musical a seriousness that contrasts with its earlier buoyancy. I gotta admit it, during the singing competition near the end of Act 2, while the von Trapps poured their hearts into “Do-Re-Me” and “Edelweiss” with four Nazi flags as the backdrop, another emotional wave washed over me, for are we really so far from a repeat? As it is in the story, sadly, so is the current state of our world. The danger is real, the choices are difficult, and the family’s escape is about much more than reaching a safe destination. It’s about deciding what kind of people they want to be and what they are prepared to sacrifice to remain true to themselves.
And that, perhaps, is why The Sound of Music continues to speak to audiences across generations. Its optimism isn’t rooted in pretending that the world is always kind or that doing the right thing is easy. Instead, it suggests that music, love, family and personal conviction can help us find our way through even the darkest moments. That’s a message worth hearing again, especially when a production gives us so many reasons to listen.
I went into this performance expecting to revisit a familiar favorite. I left with a renewed appreciation for the songwriting, the story and the remarkable ability of live theater to reveal something new in material we think we already know. With its standout vocal performances, impressive scenic design, charming ensemble and generous supply of heart, this national tour offers a thoroughly satisfying evening of musical theater. If, like me, you’ve watched the movie more times than you can count, consider this an invitation to experience The Sound of Music again—but this time, really listen. You may find that those beloved songs have a few new things to tell you. YES, the hills are still alive, and this production gives us every reason to be glad they are.
The national tour of The Sound of Music continues in Nashville at TPAC’s Jackson Hall thru Sunday, October 18, 2026. Performance schedule is as follows: Thursday, October 15 thru Saturday, October 17 Evening performances at 7:30 p.m. Saturday, October 17 matinee at 2p.m., Sunday, October 18 matinee at 1p.m.* and a final Music City performances Sunday, October 18 at 6:3 p.m. (*The Sunday, October 18, 1 p.m. performance offers ASL interpretation, open captioning and audio description.)
Ticket prices vary by seating location and availability. For current prices, seat availability and online ticket purchases, CLICK HERE. For tickets and additional information, visit TPAC. Not in Nashville but want your chance to relive the magic of this family favorite? CLICK HERE to check out future dates as the National Tour continues with current dates set through the spring. You can also follow The Sound of Music on Insta, Facebook, TikTok and YouTube.
Following The Sound of Music, Tennessee Performing Arts Center‘s Broadway at TPAC season continues with Death Becomes Her on stage at Jackson Hall November 3-8. CLICK HERE for tickets. Follow TPAC on TikTok, Instagram, YouTube and Facebook.
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In case you missed it, check out our recent Rapid Fire 20Q with members of the cast of The Sound of Music, then #GoSeeTheShow!