The bottom line regarding this SOM is that it provides a good chance to compare it to the Andrews version and to compare the film and stage variations of the story. Of course, the movie having Penny Robinson and Spider-Man in it gives it a big leg up.
The better news regarding timing is that ample opportunity remains to give your favorite theater geek or child the the Shout! release for Christmas or merely to play it on an endless loop to keep the kids out of your hair. The FLAWLESS picture and sound (which look very 3Dish when played on a 4K machine and watched on a 4K set) screams to buy the Blu-ray version.
British television network ITV aired this SOM on December 20, 2015; the twofer aspect is the broadcast being part of both the holiday programming of the network and a desire to air "event" specials. It is reported that the objectives of creative director Corky Giedroyc include this version being closer to the original stage production than to emulate the movie. An aspect of this is maintaining the political aspects that center around the Nazis increasingly taking over Austria.
The following YouTube clip of an ITV promo. for SOM nicely conveys the spirit of both the production and the literally behind-the-scenes feature on the Shout! release.
The newer version is entertaining from stem to stern and maintains a perfect pace. Further, hearing all the classic songs provides a warm and fuzzy sense of nostalgia. "How Can Love Survive" is not in the film, but is in stage productions.
The infamous "you can't face" line in a scene in which Maria receives a reality check continues to amuse those of us who embrace our inner 12-year-old boy. It is a near certainty that EVERY actress who portrays Mother Abess focuses on very carefully enunciating that dialogue,
Two songs stand out in SOM. The "Sixteen Going on Seventeen" duet of eldest Von Trapp daughter Liesl and current delivery boy/future fascist pig Rolf has good charm and humor. It seems that the affection between those all Austrian kids is genuine.
All the kids steal the show in the first presentation of "So Long, Farewell." They are being sent packing during a party at Von Trapp Haus and perform the song as their exit strategy. The choreography and the performances of the Von Trapp Singers this time actually outshines the film version. It is a bit more lively and amusing.
Describing SOM as understated is only intended to put it in context regarding the film. Kara Tointon ("Mr Selfridge" and "EastEnders") projects the same level of "Keep Calm and Carry On" emotion throughout; she also has a wonderful voice and seems to literally hit every note but does not put her heart and soul into the songs ala Andrews.
Similarly, Julian Ovendon (Downton Abbey) plays Captain Von Trapp with far less emotion and passion than Christopher Plummer. This sadly prevents feeling any connection with this central character.
As mentioned above, the bigger picture is the rise of Nazism in Austria. Watching this production as an adult in 2018 puts a whole new perspective on the story.
Being an adult in 2018 also screams for escaping the increasing level of fascism and dystopia in the world by watching a new version of a childhood favorite. Keeping the flame alive by watching it with a keyboard kid provides hope that memories of a kinder and gentler period will persist.
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