Maria Rainer (Abbey Alder) embraces nature and music in POW’s production of The Sound of Music.

By AARON KRAUSE

The von Trapp children energetically circle Maria Rainer in a fresh, believable South Florida production of The Sound of Music—one that is as smart as it is lively.

But the youngsters are not the only ones circling — audience members are, too. Indeed, they are spinning in swivel chairs while soaking in the classic show’s charm, tense drama, unforgettable music, and intense relief at the end.

The live production to which I am referring is a nontraditional staging. Instead of taking place on a proscenium stage in a regular theater, this mounting is set amid nature, outside in a park that is unquestionably alive with the glorious sound of music. More specifically, the show takes place at Richardson Historic Park & Nature Preserve in Wilton Manors.

POW Artistic Director Ronnie Larsen, who sensitively stages the show, immerses audiences into the action. It takes place all around you. And patrons swivel to follow the actors as they move throughout the park.

This nearly three-hour production, which includes an intermission, continues through June 9. Admission is free, with required reservations available at www.powinthepark.com. Hurry — tickets are disappearing fast as South Florida theatergoers scramble to experience this winning production that grips you from start to finish.

POW’s production has been regularly selling out since it opened about a month ago. The nonprofit organization is only releasing tickets to four performances at a time.

The Sound of Music, a beloved classic musical with music by Richard Rodgers, lyrics by Oscar Hammerstein II, and a libretto by Howard Lindsay and Russell Crouse, marks the second show that POW is presenting free in a park setting.

This natural setting not only enhances the sensory experience — it echoes the show’s deeper meaning.

Undoubtedly, The Sound of Music embraces life. It encourages us to keep living fully in the moment, even after a tragedy. Of course, the musical also champions the power of music to heal. In addition, the show urges us to find our purpose in life. As a life-embracing musical, it makes sense to stage this show in a 360-degree, circular setting. After all, a circle is a potent symbol of the life cycle.

While many are familiar with The Sound of Music, a refresher could help those new to the show. The Tony Award-winning show premiered on Broadway in November 1959 and was the final collaboration between Rodgers and Hammerstein before the latter’s death in 1960. A 1965 award-winning film adaptation starring Julie Andrews as Maria Rainer further popularized the piece. The 60th anniversary of the film’s release just passed. The Trapp Family Singers by Maria Augusta Trapp, a true story, inspired the musical.

The setting is Austria during the late 1930s, just before the Anschluss (Nazi annexation of Austria). Rainer, a postulant nun, becomes governess to the seven von Trapp children. She brings joy and music back into the strict household; the youngsters’ father, Capt. George von Trapp, has forbidden music in the house ever since his wife died. Also, he maintains order by using a whistle to call his children and others who work in the house. Eventually, Rainer falls in love with Captain von Trapp and his children. In time, they come to love Maria. As the Nazis rise to power in Austria, the von Trapps must make a life-altering choice: comply with the regime or escape to preserve their freedom and integrity.

The Sound of Music deftly contrasts charming, light-hearted moments with scenes in which a sense of dread and gravity take hold. And, to their credit, the actors handle both moods beautifully. They never push too hard. Rather, they allow the story’s emotional truth to emerge naturally, resulting in nuanced performances that feel consistently fresh.

The performers are clearly triple threats — moving gracefully, singing expressively, and delivering strong, clear vocals — all while fully inhabiting their characters. They come across as relatable and likable: not saints, but flawed individuals who may remind us of people we know.

But not all characters inspire warmth. The story includes villains. They, disturbingly, feel all too familiar in today’s divided world. In fact, certain moments feel like a sudden punch to the gut. They may make your blood run cold. Such instances include a “heil” salute and the unfolding of the Nazi flag, which late in the show hangs outside the von Trapp home. And when Nazi officials search the Nonnberg Abbey, where the von Trapp family hides toward the end, you find yourself hoping that the bad guys will not discover the family. In fact, you pray even if you know the musical’s ending. That is a testament to how gripping the performances are. Certainly, relief washes over us when the sound of sirens fades into the dark, quiet night air, signaling that Nazis have left in their vehicles.

But this cast, under Larsen’s inspired direction, also succeeds during lighthearted moments. For instance, a carefree, playful aura reigns during the upbeat, fairytale-like charm song, “The Lonely Goatherd.” The youngsters look as though they are manipulating puppets when Rainer sings this song with them as a distraction during a thunderstorm — made especially convincing thanks to clear, crisp, and realistic sound design. In fact, the actual thunderstorm foreshadows the upcoming “storm” brewing for the von Trapps and other Austrians after the Nazi invasion.

Rodgers and Hammerstein revolutionized musical theater by seamlessly combining memorable music with compelling storytelling — a strength that shines through in this production. A great example of their craft appears in The Sound of Music, where the same basic melody recurs in two strikingly different forms. First, “The Lonely Goatherd” is presented as a fast-paced, playful tune. Later, that same melody reappears—transformed into a graceful waltz during the Laendler scene, when Maria and the Captain dance. But this isn’t simply a case of musical recycling. It’s thematic storytelling through music. The transformation of the melody mirrors Maria’s emotional growth and the deepening of her relationship with the Captain.

A similar device appears in The Music Man (1957) by Meredith Willson. The rousing march “Seventy-Six Trombones” is later reimagined as the tender, waltz-like ballad “Goodnight My Someone.” In both cases, a shift in musical style reflects a shift in emotional tone—illustrating how melody can serve as a powerful storytelling tool in the hands of great composers.

“Beyond ‘The Lonely Goatherd,’ the actors remain appropriately animated during the cheerful number “Do-Re-Mi,” which comes when Rainer teaches the children the basics of music. The equally buoyant number “My Favorite Things” also charms us, thanks to the actors’ spirited rendition of this song.

As the Mother Abbess of the convent, Irma Gloria turns in one of the strongest singing performances. Her clear, high-pitched voice soars through the open air as the character encourages Rainer to find her place during the empowering, symbolic number “Climb Ev’ry Mountain.”

Gloria deftly portrays the Mother Abbess as a pleasant, optimistic, but firm woman who is a natural role model. In fact, each actor portraying a nun steers clear of stereotypes. They make the sisters lively, pious women willing to forgo worldly affairs and devote their life to service and God. Along with Gloria, Leslie Kandel plays Sister Sophia, Ali Macaulay portrays Sister Berthe, and Allie Woodside embodies Sister Margaretta.

As aspiring nun turned governess Maria Rainer, Abbey Alder consistently shines.  With wavy blonde hair and dark eyes, Alder is infectiously enthusiastic and charming in the role. With such winning qualities, it is immediately clear why she wins the von Trapp children over so quickly. Alder also nails Maria’s character arc, evolving gradually and almost imperceptibly as the show progresses. In addition, Alder’s chemistry with Noah Peacock, who plays the captain, is strong. A clear chilliness exists between the pair in the beginning, when the captain seems suspicious of Rainer. But that iciness gradually — and almost imperceptibly — melts into a convincing tender and loving feeling.

With brown hair, a mustache, and beard, Peacock fittingly wears a dark suit early on (Tim Bowman designed the character-appropriate costumes). The dark clothing matches Peacock’s solemn demeanor in the beginning, when Peacock’s strong-willed Captain von Trapp, a man of strong convictions, is commanding, irritable, and even severe. But once the captain hears his children sing for the first time in a while, the character’s chilliness suddenly evaporates. Tenderness, warmth, and sincerity overtake it.

Other cast standouts include Michael H. Small. He imbues Max Detweiler with seemingly endless charisma, stamina, and conviction. With dark, wide eyes and an excited voice, Small’s Detweiler is like a natural showman. That is fitting; Detweiler is a charmingly opportunistic music producer and family friend to the von Trapps.

Contrastingly, Camille Schiavone, as socialite Baroness Elsa Schrader, convincingly conveys haughtiness and sophistication as the elegant, worldly Schrader. As Schiavone expertly portrays her, we do not like Schrader nearly as much as we come to adore Rainer. In fact, we find ourselves hoping that the captain chooses Rainer over the socialite.

The child performers who winningly portray Captain von Trapp’s children give each of their characters a distinct personality. These young thespians are always in the moment, and consistently charm us. That is particularly true for Emily Brievyte. She is especially charming as little Gretl — her sweet voice and innocent presence are hard not to be moved by.

In addition to Brievyte, Nicole Hulett ably portrays the independent Liesel, Kaden Pesaturo excels as Friedrich, McKayla Pesaturo steps into Louisa’s skin, Jackson Goddard plays Kurt, Lily Rose Shytle portrays Brigitta, and Hailey Torrenga becomes Marta.

In a supporting role, Desir Dumerjuste captures the troubling arc of Rolf. He is a young man infatuated with Liesl who transforms from a charming suitor into a cold Nazi loyalist.

As the director, Larsen wisely uses the existing structures in the park in place of scenic design. For instance, Captain von Trapp and Rainer appear in a touching scene that takes place inside the intimate confines of a gazebo. There, the couple kisses, holds hands, and gracefully dances. Together, they walk out into the dark, quiet night sky.

Larsen also stages a moving scene between the Mother Abbess and Rainer in the gazebo. Inside it, Rainer acts vulnerable, telling the head nun that she felt uncomfortable knowing that she was falling for the captain. She tells the older woman she wants to return to the convent. But the Mother Abbess gently, yet firmly takes Rainer outside the gazebo, which might symbolize comfort and routine for Rainer. After taking her outside the cozy, “safe” gazebo, the Mother Abbess leads her young charge into the woods. That uncertain, open space might symbolize the Mother Abbess’s suggestion that Rainer “climb every mountain” to find her true purpose. The woods, the gazebo, a two-story house, and a clubhouse-like structure are the natural settings for the production.

Larsen’s smart staging, which wisely uses both levels of the house, also extends to the song “No Way to Stop It.” During the number, the Baroness backs the captain up almost into a corner, perhaps symbolically suggesting that none of the characters can do anything to stop the Nazi annexation of Austria.

In the final analysis, POW’s production of The Sound of Music is not just a revival. It is a reimagining. It stays true to the spirit of the original while making this nontraditional staging feel immediate, urgent, immersive, and live. The entire park — not just the hills — comes alive with music.

The hills have been alive with The Sound of Music for decades now — and for good reason. The show’s soaring melodies and lighthearted moments are strikingly balanced with the looming threat of war and the courage it takes to stand up for what is right. At its heart, this is a story about love: for family, for country, for music, and for the people we choose. Its instantly recognizable score does not merely entertain; it enriches the characters, offering insight into their inner lives and emotional journeys. Even now, The Sound of Music speaks to each new generation, reminding us to live bravely, love fully, and resist injustice — no matter the cost. And POW’s park-set production breathes fresh life into this beloved musical, making it feel as immediate and relevant as ever, more than 60 years after the movie premiered and over 65 years since its original stage debut.

IF YOU GO

WHAT: Plays of Wilton’s outdoor production of The Sound of Music.
WHEN: Through June 9.
WHERE: Richardson Historic Park & Nature Preserve, 1937 Wilton Drive in Wilton Manors.
TICKETS: Free, but you must register at www.powinthepark.com.