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ONLINE PROGRAM
THE SOUND OF MUSIC IN CONCERT

music by RICHARD ROGERS

lyrics by OSCAR HAMMERSTEIN II

book by HOWARD LINDSAY &
RUSSEL CROUSE

suggested by "THE TRAPP FAMILY SINGERS" by Maria August Trapp
 

directed by JP THIBODEAU

 

THE SOUND OF MUSIC is presented through a special arrangement with Concord Theatricals on behalf of The Rodgers & Hammerstein Organization. All authorized performance materials are supplied by www.concordtheatricals.com

The videotaping or making of electronic or other audio and/or visual recordings of this production or distributing recordings on any medium, including the Internet, is strictly prohibited, a violation of the author’s rights and actionable under copyright law. 

nov 26 to
dec 19 2021

In-Person Presentation

dec 16 to 30 2021

Streamed online

rated PG | 6+

running time 120 mins

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presented in partnership with OCL Studios.

 
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SHOW SUMMARY

In Austria, 1938, an exuberant young governess brings music and joy back to a broken family, only to face danger and intrigue as the Nazis gain power.

StoryBook Theatre is thrilled to bring back one of the most beloved musicals of all time for the holiday season!

Featuring a trove of cherished songs, including "Climb Ev'ry Mountain," "My Favorite Things," "Do Re Mi," "Sixteen Going on Seventeen," and the title number, The Sound of Music won the hearts of audiences worldwide, earning five Tony Awards and five Oscars. Based on Maria Augusta Trapp's memoir, the inspirational story follows an ebullient postulate who serves as governess to the seven children of the imperious Captain Von Trapp, bringing music and joy to the household. But as the forces of Nazism take hold of Austria, Maria and the entire Von Trapp family must make a moral decision.

Presented in concert format, with a full cast and live orchestra, the show is planned to be presented at 50% capacity in the Beddington Theatre Arts Centre space. Should provincial restrictions be lifted, more seats may be made available.

“The sentiments of The Sound of Music are genuine and are presented, unabashedly and effectively, in the show's music, lyrics and dialogue... It is uplifting theatre, appealing successfully and without apology to the better side of our natures.”

– Douglas J. Keating, The Philadelphia Inquirer.

RATING: PG | 6+ 
Read more about show ratings and recommendations >

 
 

FROM THE DIRECTOR: JP THIBODEAU

What an incredible journey this has been.  These past year and a half of creating theatre for online consumption has taught us many things, but mostly it has taught us how powerful LIVE THEATRE really and truly is.

I have never been a fan of this musical.  Perhaps I never had the nostalgia so many seem to have attached to it, or maybe as a female led musical I never saw myself in the show, but for whatever reason, I just never felt the same affinity that so many had for this musical.  This became a hurdle for me to climb as we worked through the show.  After all you don't have to love the musical to love creating theatre.

Throughout this process I fell in love with the creation of theatre all over again.  I fell in love with the people who everday arrived excited to share with us the work they had done and give all ove themselves to the process.  I loved watching them capture the story at its core and tell this story, in our very simple way.

When we planned to present this show, we had no idea what restrictions may be in place, so we billed it as no more than just a concert version of the show.  But I am sure as you watch tonight you will see far more than that, you will see a full musical putting the story at its core and letting the music fill the room.

I am very proud of our first LIVE holdiay offering in our space in 2 years and I am sure everyone who watches the magic of Katie McMillan as Maria will agree, it was well worth the wait.  The talent on our stage is exploding and StoryBook is so lucky that these artists choose to make it their home.

While at the end of this process I was no more in love with the show then when I began, I can assure you I was in love with these people.  What you are about to see is guaranteed to fill your heart with more than the sound of music, it will be filled with life and all the possibiliites that theatre can make happen in one little show.

Thank you for your support and all your love as we navigate this new and crazy world.

JP Thibodeau

JP Thibodeau
 
Production Inclusion Statics

60.98% FEMALE/NON-BINARY
REPRESENTATION

48.78% MARGINALIZED REPRESENTATION

31.71% BIPOC
REPRESENTATION

24.39% LGBTQIA2S+
REPRESENTATION

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65.22% ON STAGE
55.56% OFFSTAGE

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34.78% ON STAGE
66.67% OFFSTAGE

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21.74% ON STAGE

44.44% OFFSTAGE

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17.39% ON STAGE
33.33% OFFSTAGE

ABOUT THE CREATORS 
RICHARD RODGERS & OSCAR HAMMERSTEI
N II 

Bios and images source: https://rodgersandhammerstein.com/

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Collectively, the Rodgers & Hammerstein musicals have earned Tony, Oscar, Grammy, Emmy, Pulitzer, and Olivier Awards.

Despite Hammerstein's death in 1960, Rodgers continued to write for the Broadway stage. His first solo entry, No Strings, earned him a Tony Award for Best Composer and was followed by Do I Hear A Waltz?, Two By Two, Rex and I Remember Mama. Richard Rodgers died on December 30, 1979, less than eight months after his last musical opened on Broadway. In March of 1990, Broadway's 46th Street Theatre was renamed The Richard Rodgers Theatre in his honor.

At the turn of the 21st century, the Rodgers and Hammerstein legacy continues to flourish, as marked by the enthusiasm that greeted their centennials, in 1995 and 2002, respectively.

In 1995, Hammerstein's centennial was celebrated worldwide with commemorative recordings, books, concerts and an award-winning PBS special, Some Enchanted Evening. The ultimate tribute came the following season, when he had three musicals playing on Broadway simultaneously: Show Boat (1995 Tony Award winner, Best Musical Revival); The King and I (1996 Tony Award winner, Best Musical Revival); and State Fair (1996 Tony Award nominee for Best Score.)

In 2002, the Richard Rodgers centennial was celebrated around the world, with tributes from Tokyo to London, from the Hollywood Bowl to the White House, featuring six new television specials, museum retrospectives, a dozen new ballets, half a dozen books, new recordings and countless concert and stage productions (including three simultaneous revivals on Broadway, matching Hammerstein's feat of six years earlier), giving testament to the enduring popularity of Richard Rodgers and the sound of his music.

After long and highly distinguished careers with other collaborators, Richard Rodgers (composer) and Oscar Hammerstein II (librettist/lyricist) joined forces to create the most consistently fruitful and successful partnership in the American musical theatre.

Prior to his work with Hammerstein, Richard Rodgers (1902-1979) collaborated with lyricist Lorenz Hart on a series of musical comedies that epitomized the wit and sophistication of Broadway in its heyday. Prolific on Broadway, in London and in Hollywood from the '20s into the early '40s, Rodgers & Hart wrote more than 40 shows and film scores. Among their greatest were On Your Toes, Babes In Arms, The Boys From Syracuse, I Married An Angel and Pal Joey.

Throughout the same era Oscar Hammerstein II (1895-1960) brought new life to a moribund artform: the operetta. His collaborations with such preeminent composers as Rudolf Friml, Sigmund Romberg and Vincent Youmans resulted in such operetta classics as The Desert Song, Rose-Marie and The New Moon. With Jerome Kern, he wrote Show Boat, the 1927 operetta that changed the course of modern musical theatre. His last musical before embarking on an exclusive partnership with Richard Rodgers was Carmen Jones, the highly-acclaimed 1943 all-black revision of Georges Bizet's tragic opera Carmen.

Oklahoma!, the first Rodgers & Hammerstein musical, was also the first of a new genre, the musical play, representing a unique fusion of Rodgers' musical comedy and Hammerstein's operetta. A milestone in the development of the American musical, it also marked the beginning of the most successful partnership in Broadway musical history, and was followed by Carousel, Allegro, South Pacific, The King And I, Me And Juliet, Pipe Dream, Flower Drum Song and The Sound Of Music. Rodgers & Hammerstein wrote one musical specifically for the big screen, State Fair, and one for television, Cinderella. Collectively, the musicals of Richard Rodgers and Oscar Hammerstein II earned 42 Tony Awards, 15 Academy Awards, two Pulitzer Prizes, two Grammy Awards and 2 Emmy Awards. In 1998 Rodgers & Hammerstein were cited by Time Magazine and CBS News as among the 20 most influential artists of the 20th century, and in 1999 they were jointly commemorated on a U.S. postage stamp

 
THE TRAPP FAMILY SINGERS: THE SOUND OF THEIR MUSIC

By Laurence Maslon

For a while there, it looked like The Sound of Music was going to be Broadway’s first jukebox musical.

It only made sense. The jukebox musical, as it’s come to be known, is a theatrical genre that takes a popular singer or singing group and frames their biography around a narrative show of some kind which features their biggest hits: Jersey Boys, say, tells the story of the Four Seasons in the 1950s and ‘60s by reframing their most famous songs as biography; the same thing with Ain’t Too Proud and the hits of the Temptations.

And, of course, The Sound of Music is essentially framed around another successful singing group, known originally as the Salzburg Trapp Choir and then, more famously, the Trapp Family Singers. The family at the center of the musical by Lindsay & Crouse, Rodgers & Hammerstein was a real—very real—singing group that had an extraordinary origin and an impressive professional career, in Europe and in America, with a various recording contracts and a dedicated fan base.

The von Trapp family had always been musical in nature. Before his first wife died, Captain von Trapp and his children made a habit of singing and playing musical instruments as a casual hobby. When a young novitiate named Maria Kuschera joined the household as a governess in 1926, she brought along her own talent and enthusiasm for music and, once she and the Captain married, the von Trapps’ love for music blossomed and grew. The children were taught four-part harmony and how to play instruments such as the viola da gamba, the recorder, and the spinet. Musical performance soon evolved into a pleasant after-dinner pastime for the family.

READ MORE >

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HISTORICAL FEATURES

 

FROM THE ALPS TO THE RIALTO: THE SOUND OF MUSIC’S STAGE JOURNEY
When, in the late 1950s, Broadway star Mary Martin was trying to track down Maria Von Trapp, in order to obtain the stage rights to her story, she had no idea that Maria… READ MORE

BROADWAY STAGE TO HOLLYWOOD SOUND STAGE
Five months after The Sound of Music opened, it took home six trophies at the 1960 Tony Awards, including Best Musical… READ MORE

ENTER SALZBURG: STAGE LEFT
When The Sound of Music made its not-so-inevitable transition from Broadway to Hollywood, it assured its success by promoting a minor stage character… READ MORE

THE CHARTS ARE ALIVE WITH THE SOUND OF MUSIC
If you were a first-grader in 1965 and you were asked to define a “record,” you could easily be forgiven for describing it as a flat, round, black disc that has Julie Andrews singing on it…. READ MORE

 
 

SONG LIST

ACT ONE

  • Preludium (Morning Hymn, Angelus Bells, Alleluia) - The Nuns of Nonnberg Abbey

  • The Sound of Music – Maria

  • Maria - Sisters Berthe, Sophia, Margaretta and Mother Abbess

  • My Favorite Things - Maria and Mother Abbess

  • My Favorite Things (Reprise) – Maria

  • I Have Confidence– Maria

  • Do-Re-Mi - Maria and the Von Trapp Children

  • Sixteen Going on Seventeen - Rolf and Liesl

  • The Lonely Goatherd - Maria and the Children

  • The Lonely Goatherd (Reprise)

  • How Can Love Survive? - Max, Elsa and Capt. Von Trapp

  • The Sound of Music (Reprise) - The Children and Capt. Von Trapp

  • So Long, Farewell - The Children and Capt. Von Trapp

  • Morning Hymn - The Nuns

  • Climb Ev'ry Mountain - Mother Abbess and the Nuns
     

ACT TWO

  • My Favorite Things (Reprise) - The Children and Maria

  • No Way to Stop It - Elsa, Max and Capt. Von Trapp

  • Something Good - Maria and Capt. Von Trapp

  • Gaudeamus Domino - The Nuns

  • Maria (Reprise) - The Nuns

  • Confitemini Domino - The Nuns

  • Sixteen Going on Seventeen (Reprise) - Maria and Liesl

  • Do-Re-Mi (Reprise) - Maria, Capt. Von Trapp and the Children

  • Edelweiss - Capt. Von Trapp, Maria and the Children

  • So Long, Farewell (Reprise) - Maria, the Children and Capt. Von Trapp

  • Finale Ultimo - The Company

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MEET THE CAST
 
MEET THE TEAM
STAGE & FILM TEAM CREDITS

STORYBOOK THEATRE

Artistic Director | JP THIBODEAU
Office Administrator | EVA STIEBER
Theatre School Coordinator | CRISTINA LANZ
Facilty & Community
Engagement Manager |
OMATTA UDALOR
Box Office Staff | SKYLAR DESJARDINS
Box Office Staff | MELODY KIELEK
Box Office Staff | NICK BISHOP

THEATRICAL TEAM

Stage Directors | JP THIBODEAU

Musical Director | JOEL SCHAEFER

Choreographer | ALEXA ELSER

Stage Manager | JENNIFER YEUNG

Assistant Director | LÁWUNMI (WUNMI) IDOWU
Assistant Director | CHRIS THOMPSON

Assistant Stage Manager | ROSS WILSON

Assistant Stage Manager | NAOMI AKINTILO

Assistant Stage Manager | MADIHA RANA
Assistant Stage Manager | JUSTYN NISHIMURA

Costume Designer | SARAH UWADIAE
Costume Assistant |
DARCIE HOW
Hair Designer | CAT BENTLEY
MakeUp Designer |
MELODY KIELEK
Lighting Designer | JP THIBODEAU
Lighting Assistant & Operator |
 TAURAN WOOD

Sound Designer & Programming | MARCO ROJAS CRUZ
Set & Props Designer | JJ PENARANDA
Sound Operator | PAUL DAVIES & ARETHA SMITH

Theatre Technician | SKYLAR DESJARDINS

Graphic Design | JENNIFER MERIO

Public Relations | ALDONA BARUTOWICZ

FILM TEAM

Film Direction | JP THBODEAU

Director of Photography | KRIS MISH

Lighting Operator | TAURAN WOOD

Production Assistant | ROSS WILSON

Production Assistant | NAOMI AKINTILO

Production Assistant | MADIHA RANA
Production Assistant | JUSTYN NISHIMURA
Production Assistant | MICHELLE DRESSLER
Spot Operator | ADAM THOMSON
Spot Operator | KEITH THOMSON
Camera Operator | MADDIE ARNASON
Camera Operator |
 ZANE OLSON

Camera Operator | HAYLEE THOMPSON

Soundtrack Recording | OCL STUDIOS 

Music Editor & Supervisor | MARCO ROJAS CRUZ

Video Editor | JP THIBODEAU
Colour & Editing Support |
KRIS MISH

Executive Producer | STORYBOOK THEATRE

BOARD OF DIRECTORS
Visit our Board website

 
 

StoryBook would like to share our complete appreciation to OCL Studios, for donating their studio time for the cast recording sessions. Thanks to their generosity, support, and hard work, our cast was able to capture their beautiful voices, and safely record the magic that is the music of Annie.  Check out OCL Studio's inspiring space >

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PARTNER SHOWCASE THANK YOU OCL STUDIOS

 
SUPPORTERS, DONORS & CONTRIBUTORS - needs updating

GOVERNMENT SUPPORTERS

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PRIVATE SECTOR SUPPORTERS

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MEDIA SUPPORTERS

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DONORS, SUPPORTERS & CONTRIBUTORS

Calgary Foundation
Rozsa Foundation
Patrice Barnes
Jennifer Gerritsen
Lori Goods
Janet Gourlay Vallance
Valerie How
Jody Hubler
Preston Lee
Kevin Leiver

Maureen MoranHesson Persaud

Melissa SmithSteve ThannhauserBabsTricia Whenham

Hawthorn Blossom Investments

Occasional Notes Productions

Leela Aheer

Pat Arnason

Darryl Arnason

Catherine Davis / Transcanada

Catherine Handford

David Granger / Meg Energy

Gil Hopkins

Amanda Ierfino

Jody Low

Krista Noriega

Hesson Persaud

Anne Roggensack

Jessica Roney

Kenneth Wilson

The Flanagan Foundation
Beddington Heights Community Association
Anonymous Donor @ Calgary Foundation
Bridget Chan
Maureen Morris
Sheila Telford

Kelly Swart-Davis

 

THANK YOU TO...

THANK YOU TO... 

Catherine Handford
Jessica Roney
Lorie Masur
Heather Racz
Molly Racz

Hannah Kerbes

OCL Studios

 
REHEARSAL & SHOW GALLERY