Review: The Sound of Music's Anti-Authoritarianism
The 65-year-old musical's depiction of an us-vs.-them mentality remains poignant.
The Kennedy Center hosted director Jack O'Brien's production of The Sound of Music from September to October. O'Brien's rendition left little to criticize: stunning sets, apt casting, and exquisite vocal performances. Cayleigh Capaldi's high notes could have fractured the glass chandelier. The 65-year-old musical's depiction of an us-vs.-them mentality emerging around the Anschluss was particularly poignant in the wake of Charlie Kirk's assassination and the Manichean responses to it. The musical's anti-authoritarian message was unchanged by President Donald Trump's recent ascension to chairmanship of the center.
The exclusion of "I Have Confidence" and the deviation from the original lyrics of "Something Good" and "Sixteen Going on Seventeen (Reprise)" are the only areas where this production could be improved. There's nothing wrong with recognizing our capacity for wickedness or the mutual sense of ownership that characterizes marriage.
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Well this is a silly excuse for a review!
Just wouldn't be complete without TDS.
But would be complete without explaining what the deviations in lyrics was.
Well done, Jack Nicastro!
But the movie sucked.
The Charlie Cartman reprisal, rhymed with Sal Mineo's doppelganger taking Ernst vom Rath off the Ribbentrop-Molotov chessboard. Admittedly less violent, equally terrified and hateful calls for violence and Hitler-reprisals from j6er Nationalsocialists followed. European simping over vom Rath encouraged 1939 Hitlerites to invade Poland for Jesus and Stalinistas to do the same for Historical Determinism. Cowardly coercion invariably brings on apposite reprisals.