“The Sound of Music” returns to the stage as a faithful representation of the original story with a cast that embodies the essential charm of the Von Trapp family.

The final and most prolific collaboration of composer Richard Rodgers and lyricist Oscar Hammerstein II, “The Sound of Music” was a sensation when it opened on Broadway in 1959. When it was later adapted into a movie in 1965, the acclaim and ubiquity of the film outgrew that of the stage show, and it acquired five Academy Awards, including Best Picture and Best Director. The image most people arrive at when they think of “The Sound of Music” is Julie Andrews in a postulant dress twirling about an alpine meadow. With 2025 marking the 65th anniversary of the musical’s theatrical debut, the play has mounted stages across the country. Produced by Concord Theatricals in collaboration with NETworks Presentations and directed by three-time Tony Award winner Jack O’Brien, “The Sound of Music” has come to the Pantages Theatre just in time for spring.

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The show follows Maria Rainer (Cayleigh Capaldi), a postulant nun of Nonnberg Abbey in Salzburg, Austria. She struggles to conform to the solemnity of monastic life and is sent by Mother Abbess (Christiane Noll) outside to decide if she is ready to part with secular attachments. Maria agrees to act as governess to the seven children of widower and Austrian naval captain Georg Von Trapp (Kevin Earley). While Georg courts the rich and beautiful Elsa Schraeder (Kate Loprest), Maria transforms a rigid household into one that bursts with laughter and music, finding that the qualities that made her unfit to be a nun have made her a loving and beloved caretaker.

The threat of the impending Anschluss – the annexation of Austria by Germany during World War II — envelopes the narrative, forcing each character to reevaluate their allegiances, convictions and the power of music. O’Brien’s rendition offers the opportunity for enthusiasts of the film to experience the theater piece with all the effervescence of the original Broadway show.

Though some past productions have been persuaded by the film adaptation – cutting songs here, adding lines there – O’Brien makes no such concessions. With the exception of a slight rearrangement of the lyrics in “Something Good” – the duet Maria and Georg sing to confess their love for one another – the music is the same as the show’s Broadway debut.

Aside from its songs, “The Sound of Music” is perhaps best known for grappling with the initial annexation of Austria in 1938 by representing the Nazi regime and Austrians who opposed it. Some viewers familiar with the film will find the lack of a direct reference to Adolf Hitler jarring. However, the show still adequately addresses the Nazi regime and its imperial chauvinism with the restoration of songs such as “No Way to Stop It.” Loprest, Earley and Nicholas Rodriguez (as Max Detweiler) deliver a whirlwind performance with the song, which articulates the collective psyche of Austrians opposed or indifferent to the incoming Anschluss.

The scenic design by Douglas W. Schmidt is simple yet evocative, using projections, sprawling scenery and various set pieces to add dimension to the story. Stage conveyors were used in scene transitions, making the passage of one scene to another seamless. The scene work transports viewers from the vaulted ceilings and hallowed corridors of Nonnberg Abbey to the lofty windows and awning-shaded patios of the Von Trapp villa.

Every acting and musical performance was excellent, but the show did have its standouts. Capaldi is a marvel as Maria – her performance is infused with an infectious delight and is bolstered further by her beautiful soprano register. Noll is also a powerhouse with her choral crescendos in “Climb Ev’ry Mountain” and her air of decorous wisdom that was palpable from the stage. Earley brings a rich, dulcet tone to “Edelweiss” and has a crackling chemistry on stage with Capaldi.

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Finally, the seven Von Trapp children – played by Ariana Ferch, Torben Mularski, Skylar Matthews, Reece Boyle, Haddie Mac, Berkeley Waluk and Everly Beeson – are particularly exceptional in their roles, bringing a sort of depth and distinction to the Von Trapp children that is etched a way in the film adaptation. As the name might imply, “The Sound of Music” features more song than dance, but the choreography by Danny Mefford sparkles in sequences such as “So Long, Farewell,” where the young ensemble shows its skill in both coordination and vocalization. Furthermore, “Do-Re-Mi” — with its complex arpeggios and harmonic rounds — was truly magnificent in both choreography and musical performance and was a merit to the young ensemble.

Playing at the Pantages Theatre until May 24, “The Sound of Music” will fill the hearts of anyone who sees or hears it.