We take a look at what is being said about this revival of Rodger & Hammerstein’s musical – perfectly timed to mark the 60th anniversary of the film adaptation.
Broadway World: **** “It’s always tempting for actresses to channel Julie Andrews in this role, but Lynch steps away from that interpretation entirely, with great success. She is an absolute delight as Maria, full of irrepressible energy and youthful eagerness, with bright and clear vocals that soar over the trees. Her enthusiasm lights up the entire production, and she makes a lovely counterpart to Seadon-Young’s stern but sensitive Captain.”
Theatre and Tonic: **** “Michael Taylor returns to Curve with one of his finest set designs yet. The expansive, flexible stage is transformed into a breathtaking Austrian Alpine landscape, complete with sweeping mountain projections and a beautifully crafted hillside in the foreground — even featuring a water element that adds an extra touch of magic, particularly in Maria’s opening number of the title song “The Sound of Music”. There are some fantastic additions of real trees, a giant lancet window (which I would have loved to inject some colour into the wedding scene), and a staircase which adds more dynamic to this production, which moves with haste.”
The Reviews Hub: ***** “David Seadon-Young’s Captain von Trapp is suitably stiff and uptight, softening gradually as the first half progresses and he acknowledges his true feelings. There’s a nice feeling of chemistry between his Captain and Lynch’s Maria, though the Lindsay and Crouse book does have a slightly bizarre moment when he declares his love. He doesn’t get a lot to sing, but when he does, he is in good voice with a beautiful Edelweiss. Faye Brookes gives us a delightful Baroness – she’s the sort of woman you can’t imagine anyone wanting to live with, deliciously excessive.”
The Stage: *** “Nikolai Foster’s production of the classic Rodgers and Hammerstein musical is rushed, but inventive and heartfelt.”
The Telegraph: **** “Nikolai Foster’s handsome production offers festive bliss while managing to avoid being twee.”
The Guardian: **** “Foster’s production ripples with feeling, especially in the first half. This is also where the bangers live, tune after lilting tune. Hammerstein’s lyrics are drolly unforced (“underneath her wimple she has curlers in her hair”) and Rodgers’ melodies filtered to alpine purity. The second half is busy with plot and reprises – though Seadon-Young delivers Edelweiss with a memorably forlorn defiance.”
West End Best Friend: **** “The Sound of Music is the perfect Christmas musical, full of joy and warmth, acknowledging the importance of holding onto your loved ones and the things that make you happy even when the world around you is full darkness and uncertainty.”
Leicester Mercury: “The set designs for every scene – Nonnberg Abbey, the Von Trapp home, the wonderfully huge staircase, the imposing Nazi backdrop at the Salzburg Festival, the beautiful alps, coupled with the lighting by Mark Henderson, capture the essence of the story and the atmosphere so perfectly.”
British Theatre Guide: “With fantastic performances, classic songs and Foster’s trademark polish, this show is a real heart-warmer; its themes of losing and finding love and escaping persecution in search of freedom are all wrapped up in the healing power of the sound of music.”
The Sound of Music continues to play until the 17th January 2026.