Few roles in musical theatre are as iconic, beloved, or coveted as The Sound of Music’s Maria von Trapp. So for Dominique LeBlanc, stepping into her shoes in the Grand Theatre’s holiday production of the show is both a dream come true and a serious responsibility: “Maria is a character that I’ve held close to my heart for many years of my life, so I wanted to take very good care of her,” LeBlanc shares. Directed by Artistic Director Rachel Peake, this topical take on a timeless classic runs on the Spriet Stage until December 29.
Let’s start at the very beginning
Based on the Tony Award-winning musical and the 1965 Academy Award-winning film, The Sound of Music is a cultural cornerstone birthed by legendary musical theatre duo Richard Rodgers and Oscar Hammerstein II. Based on the real-life story of Maria Augusta Trapp, the show follows Maria Rainer, a spirited postulant at Nonnberg Abbey in Salzburg, Austria, who is more drawn to the melodies of the mountains than to her religious studies. Sent by the Mother Abbess (played by Janelle Cooper) to serve as governess for the seven children of stern widower Captain Georg von Trapp (Adam Stevenson), Maria is tasked with bringing order to a household clouded by grief and discipline.
Maria’s unconventional and music-filled approach soon wins over the children. And through their shared love of music, Maria and the Captain find themselves drawn to one another, despite the looming threat of political unrest. Set against the backdrop of Austria’s annexation by Nazi Germany in 1938, the von Trapps must make a life-changing decision: stay and risk everything, or flee to safety.
With timeless songs like “My Favourite Things,” “Do-Re-Mi,” “Climb Every Mountain,” and “Edelweiss,” the Grand Theatre’s The Sound of Music balances moments of joy and nostalgia with themes of love, family, resilience and safety – which is never guaranteed. The resulting production links then to now and them to us.
So . . . how do you craft a character like Maria?
LeBlanc approached the role with care, drawing on both her own experiences and the collaborative energy of the Grand Theatre’s creative team. “Playing her came so naturally, and I felt like I understood her from the beginning,” she shares. And in her view, the beauty of the character is that every Maria can be different: she is someone who does not belong, but longs to find a home and a family. “Speaking for myself, I’ve never fit into any mould, and that’s okay… I’ve never wanted to! When you don’t fit in… it means you can stand out! That’s part of what makes her so charming.”
But the process of bringing her Maria to life was very much a “team effort”. LeBlanc worked closely with music director Alexandra Kane to ensure that “the music and Maria were always connected”. The two discussed how Maria expresses herself through music, so the songs are not simply sequences of notes in a musical register – they are her emotional register. “That foundation helped me understand Maria on an even deeper level. After all, it is the SOUND of MUSIC!” she laughs. And the collaboration extended to choreographer Ainsley Hillyard, who helped visualize these emotions and how Maria lived in LeBlanc’s body: “Movement dramaturgy played a big role for us, and it was so fun to see what we could create, and how that evolved throughout the rehearsal process,” LeBlanc recalls.
Artistic Director Rachel Peake, making her Grand Theatre directorial debut, was LeBlanc’s final pivotal collaborator in solving the problem of Maria. ”Having a female director at the helm of this show brings a much-needed perspective, especially since the story itself is driven by strong female characters. . . . Rachel and I had many conversations regarding Maria’s journey (often in between scenes or lighting cues). Creating the version of Maria that we wanted to see come to life in 2024 was our top goal.” You notice Peake’s perspective “in characters like Maria, Mother Abbess, and Liesl,” says LeBlanc. “She’s done a fabulous job of making a classic story relevant in today’s day and age.”
And this result was realized through a wonderfully collaborative creative process, characterised by Peake’s care to foster open dialogue during rehearsals. “She often led conversations involving the entire adult company (and sometimes the kids too), where we discussed topics in the show: how we can pay homage to iconic moments, or address other things in a respectful manner.” The result is a production that balances reverence for the original with a contemporary sensibility. “It was such a collaborative effort throughout the entire process, and. . . and all of the behind-the-scenes work really comes through on stage.”
Bottom line? The result is a Maria – and a version of The Sound of Music – that feels both familiar and fresh. “I’m very proud of the final product.” LeBlanc nods.
The songs fill her heart
One of Maria’s defining traits is her playful, spirited nature – a quality LeBlanc relates to both on and off stage. “I’m constantly singing or at least humming everywhere I go… I for sure have gotten some interesting looks as I walk down the street!” she laughs. “If you hear humming in the next aisle in the grocery store… it’s probably me!”
But while LeBlanc has enjoyed unleashing that free spiritedness in her performance, the most fun part of playing Maria has been “the characters she meets, the actors who play them, the costume fittings, wig fittings, designers, creatives—everyone.” Simply put, “the people are who make this whole show magic. Now I get to walk away with some really special people in my life. So, thank you, Maria!”
And don’t even ask – because choosing her single favourite moment in the show is not possible. “So I’ll give you a top three,” LeBlanc smiles: “‘The Sound of Music,’ because it feels like a dream to sing it; and ‘Do-Re-Mi’ and ‘The Lonely Goatherd,’ because you get to see the kids light up and genuinely have fun. And that says a lot about the atmosphere our team created in the room in rehearsal.”
These are a few of her favourite kids
Speaking of the kids, Maria shares so much of her onstage journey with the seven von Trapp children, that forging real connections with her young co-stars was a top priority for LeBlanc. “We have 12 amazing young kids—two casts who alternate every show, playing six of the seven von Trapp children,” she explains. “You can tell – especially with kids – when offstage relationships shine through onstage. So I made sure I got to know them well, so they felt comfortable with me.” LeBlanc’s own experience as a child actor provided essential insight and a sense of déjà vu: “I grew up spending all my time around adults, and now I get to be the adult who creates the atmosphere for them. It’s such a full-circle moment.”
LeBlanc has built different relationships with all of them, and delights in seeing which parts of Maria each child in the dual cast – “the Warm Woolen Mittens cast and the Crisp Apple Strudel cast” as she calls them – brings out in her. “I guess this means you have to come see the show twice,” she laughs, before shouting out the “lovely adult” actor Crystal Casera, who plays 16-year old Liesl, the eldest von Trapp child: “She is the best, and I love her!”
And what about the children’s stage father Captain von Trapp? Her favourite “Adam Stevenson story” happened when she first met her co-star in August for the promotional photo shoot for the show. “We got to talking immediately. And shortly after, everyone in the room asked us how long we had been friends. We responded, ‘10 minutes!’ Everyone had a good laugh. It’s lovely when you meet people you connect with right away.”
Auf wiedersehen, adieu
For those seeing The Sound of Music for the first time, LeBlanc’s advice is simple: “Sit back and have fun. Don’t be surprised when your inner child comes out!” And for those who know the story and the songs by heart, prepare to be immersed in the classic you love and sometimes surprised by the nuanced, modern take on the tale.
As Maria, LeBlanc pledges to bring warmth, authenticity, and a dash of mischief to this evergreen role which continues to inspire, delight and move generations. No matter what’s happening in the world around us, “it’s comforting to see someone unapologetically be themselves, even though she knows she’s different,” LeBlanc muses. It’s also validating that “she grows and evolves through lessons she learns, but she always remains the Maria that we know and love.”
Audiences will see a little of themselves in her story and even longtime, diehard fans may discover something unexpected, leaving the theatre feeling charmed, uplifted and warmed by this Sound of Music.
Let’s end with a few of Dominique LeBlanc’s favourite things . . .
- What’s your ultimate comfort song, the one you’d sing to brighten your day and buoy your spirits when things get tough?
DL: “One that remains the same is “My Baby Just Cares for Me” by Nina Simone and the other changes from time to time, but currently, it’s “Under the Mistletoe” by Kelly Clarkson.”
- The hills are alive with…?
DL: “…six children singing along with me from downstairs in the dressing room during every show. Ha-ha. (Found that out last week and I had a good chuckle!)”
- Maria famously twirls on a mountaintop in the opening scene. If you could twirl anywhere in the world, where would it be—and why?
DL: “Anywhere near the ocean. Maria’s mountains are my ocean. I grew up in the Maritimes and will always find a reason to go to the water. “
- If Maria had a playlist today, what’s one song you think she’d have on repeat?
DL: “I do have a full playlist specific to Maria that I listen to before every show. One song that fits her vibe is ‘Sunday In New York’ by Mel Tormé.”
- If Maria could give you one piece of advice, what do you think it would be?
DL: “Once you find the courage to face them, those scary things can become the best, most exciting parts of life.”
The Grand Theatre’s holiday production of The Sound of Music runs until December 29, 2024 and is suitable for audiences of all ages. Some performances feature pre- or post-show talkbacks. Relaxed performance: Sunday, Dec 15, 2024, 1:00 pm (babes in arms are welcome). Reserve tickets at grandtheatre.com.
© Arpita Ghosal, Sesaya Arts Magazine, 2024
