The Sound of Music

Still, Scott Beyette, who directs, has cast the show well, and there are many sweet and appealing voices. Like that of Christianna Sullins, charming and light on her feet as the wayward novice, Maria. John Scott Clough provides a strong baritone as Captain Von Trapp, and he's so convincing that he actually makes the moment that — after harrumphing about discipline — he joins his children in song quite moving. Shelly Cox-Robie, for so long the company's favorite ingenue, brings subtlety and warmth to the very adult role of Elsa Schraeder. A.K. Klimpke makes go-along-to-get-along Max humorous and appealing, and Barb Reeves is a warm Mother Abbess — though her voice doesn't have the range and richness for "Climb Every Mountain." Beyette has also done a good job of directing the children, who all come across as individual and interesting, with not one cloying, self-conscious or too cute. (Famed movie critic Pauline Kael got into trouble when she dubbed The Sound of Music's film version "The Sound of Money," and asked irritably, "Wasn't there perhaps one little Von Trapp who didn't want to sing his head off, or who screamed that he wouldn't act out little glockenspiel routines for Papa's party guests, or who got nervous and threw up if he had to get on a stage?")

If any production could make me like The Sound of Music, this would be it. But I'm glad Duran keeps working to introduce more zizz into the dinner-theater format. There's no reason that the Boulder students who regularly attend the Buell's big shows shouldn't go here instead for an experience that's more intimate and often more engaging. Evolution is a ruthless thing, but if any dinner theater can emerge onto the shore, breathe deeply and evolve into something really interesting, it's the BDT. In fact, it has already embarked on the journey.