Molly Lynch and David Seadon-Young in The Sound of Music at Curve Leicester. Picture: Marc Brenner
The Sound of Music continues at Curve Leicester until 17 January 2026.
Star rating: five stars ★ ★ ★ ★ ★
Leicester Curve’s Christmas musical is always a highlight in our calendars to look forward to, with the venue achieving a consistently high standard in their shows and always delivering when it comes to production values and performances.
This year, they’re taking us back in time and revisiting The Sound of Music, hoping to make those hills feel alive once more. First seen on stages in 1959 and adapted to film in 1965, the musical is an evergreen favourite beloved by many, and is preparing to bring some Alpine magic to Curve’s stage this Christmas.
The musical of course follows Maria (played by Molly Lynch), a lively and imaginative postulant who is sent to the home of the widowed Captain Georg von Trapp (David Seadon-Young) to serve as governess for his seven children. Though the Captain runs his household with strict discipline, Maria’s warmth, music and playful spirit gradually help the children regain their sense of joy and confidence.
Set against the majestic Austrian Alps and unfolding during the tense prelude to the Second World War, the story is framed by shifting political pressures while Maria’s understanding of love, responsibility and personal calling shine through. Ultimately, the piece highlights the unifying and uplifting power of music as a source of hope and courage in uncertain times.
This genuine classic is a great choice for Curve’s festive period, and it remains one of the most radiant achievements in musical theatre. Rodgers and Hammerstein’s score is sublime, every song is crafted with a sincerity and melodic richness that feels both timeless and emotionally immediate. From the soaring optimism of the title song and the playful charm of ‘Do-Re-Mi’ to the introspective beauty of ‘Edelweiss’ and the uplifting conviction of ‘Climb Ev’ry Mountain’, the music balances joy, vulnerability and hope with remarkable grace.
Each number is perfectly integrated into the story (book by Howard Lindsay and Russel Crouse), deepening character emotions while standing strong as memorable pieces on their own. Rodgers’ melodies are instantly singable yet sophisticated, while Hammerstein’s lyrics are heartfelt and deeply human. Together, their score has unquestionably stood the test of time and continues to resonate across generations, and is brought to life by a talented orchestra (under the musical direction of David Doidge), sounding wonderful and filling the Curve auditorium.
In recent years, Curve’s productions have leaned towards a more stripped-back industrial look, which worked better for some shows than others, but for this one they’ve gone back to a full set packed with detail and rich visuals (design by Michael Taylor), which really benefits the show and is lovely to see. Money has clearly been spent here and it has paid off, effectively transporting us to those magical hills complete with a fully-functional babbling brook, and Mark Henderson’s lighting design enriches this scenic landscape even further.
Nikolai Foster’s direction is slick and snappy, retaining the gentle natural warmth of the piece but never letting the pace drag, and eliciting charming performances from his cast.
The show reunites Lynch and Seadon-Young from Curve’s My Fair Lady last year, and they make an engaging leading pair. Lynch gives us a Maria full of spark and personality which lights up the stage, while also doing those timeless tunes justice with a wonderful voice, and Seadon-Young conveys the Captain’s journey effectively as he falls for Maria’s charms.
They’re ably supported by Minal Patel (another returnee from My Fair Lady) as Max Detweiler and Faye Brookes as Elsa Schraeder, along with the always-brilliant Rachel Izen as the scene-stealing Frau Schmidt. Joanna Riding also shines as Mother Abbess, radiating a serenity and calmness that suits the piece perfectly.
It’s also lovely to see other previous Curve favourites shining in smaller roles, namely Aviva Tulley (as Liesl) who appeared previously as Dorothy in The Wizard of Oz, and Megan Ellis as Sister Sophia, who shone so brightly as the lead in Muriel’s Wedding earlier this year.
The Sound of Music really is one of the classics, ageless and timeless, and Curve have delivered it with affection and charm. Unmissable for newcomers and a warm rewatch for devotees, this is an embracing hug of a night out and an elegant alternative to panto as the yuletide celebrations begin.
Rob Bartley
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