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I was meant to watch The Sound of Music at Curve Theatre in Leicester with my mum and I feel that I’m going to have an element of emotional bias here, because I know she would’ve absolutely adored it. I left the theatre feeling grateful I went and yearning to go again before the run ends.

From the moment I walked through those double doors, I was drawn into a world of magic. The set is nothing short of breathtaking. The Salzburg-style scenery with layered platforms, forest trees, and even running water felt so incredibly immersive I swore I could smell the alpine air. The design gives a real impression of distance and height, and the attention to detail means every element feels purposeful and atmospheric. The sense of place is so strong that it instantly transports you from Leicester to the mountains of Austria.

The pacing of the show moves briskly in places, I would say necessarily, given the length and ambition of the piece. Personally, I never felt the odd hurried moments undermined the story. Instead, those transitions kept things moving at a timely rate. Costumes are beautiful, the casting is spot on, and the performances are simply stunning. There is a clarity and warmth to every scene that makes you care deeply about each character. The welcoming back of lots of familiar faces really makes Curve productions feel like a family. I find myself cheering these familiar faces on like an old distanced friend.

At the heart of it lies the performances. Molly Lynch as Maria brings genuine warmth, spirited energy and real vulnerability. She makes Maria her own. She is genuinely wonderful with the children. She bursts into the story with life and softens it with tenderness. As the novice nun sent to care for the von Trapp children, she is magnetic and bright-eyed. Full of hope and joy, yet grounded with enough realism that she never feels like an idealised caricature. Her voice and presence light up the stage. Opposite her, David Seadon-Young as Captain Georg von Trapp gives a performance that shifts naturally over the course of the show. Personally, I found he was slightly too ‘Hugh Grant’ bumbly esque initially, and didn’t have enough stern manner but his relationship to Maria and the children grows beautifully.

Supporting cast add so much richness. Aviva Tulley as Liesl von Trapp and Faye Brookes as Baroness Elsa Schraeder bring their own flair and nuance: Liesl with youthful charm and tenderness, Elsa with a crisp, comical contrast that highlights the choices facing Maria and the Captain. The von Trapp children are full of life and talent. Gretl played by Mimi-Kimara Clarson is simply adorable.

Iconic numbers such as “Do-Re-Mi,” “My Favourite Things,” “Climb Ev’ry Mountain,” and the title track “The Sound of Music” are all honoured beautifully. Watching the cast pour everything into each number, you realise why this show still resonates so many decades on. The production honours the legacy of the original.

At times the show carries emotional weight beyond light nostalgia. Underlying themes of loss, change, resistance and hope especially given the historical shadow over the von Trapp family’s story remind the audience that this is not just a fairytale. Beneath the joy and music there is real humanity, real stakes, and real heart. That balance between light and darkness, innocence and harsh reality felt mature, powerful and meaningful.

The result is a truly wonderful production which is joyful and moving in equal measure. It celebrates love, family, courage and music and reminds you how much power those simple things have. It feels timeless, uplifting, and deeply human.

If I have the chance I will go again in a heartbeat before the run ends. The Sound of Music at Curve runs until Saturday 17 January 2026, and I’d highly recommend grabbing a ticket before they say so long, farewell.

Press night invite