Do Re Mi

Sound of Music college student lead tells all before Houston premiere

Sound of Music play musical national tour Kerstin Anderson 2016

Kerstin Anderson as Maria Rainer and the von Trapp children perform "Do Re Mi."

Photo by Matthew Murphy

What girl didn't want to be a nun after first seeing The Sound of Music movie? After all, joining a convent led Julie Andrews (as Maria) to a huge mansion and to the love of her life.

With its romantic story line, adorable kiddos, and catchy tunes, The Sound of Music has long been one of the world's most beloved stories. The Broadway musical based on the life of the real Maria Von Trapp will have Houstonians singing its praises from February 16 through 21 at the Hobby Center.

Enter stage left: college sophomore Kerstin Anderson. As fate would have it, she grew up near Stowe, Vermont — home of the real Von Trapps after they settled in America in the 1940s. The actress, who rather unexpectedly won the coveted role of Maria Rainer in the latest touring revival of the musical, was very familiar with the story and music when she auditioned. She remembers watching the movie adaptation on a two-tape set with her family when she was young, which made an indelible impression. "[The Sound of Music] set my appreciation for music and my passion for musicals," recalls Anderson.

As a theater student at Pace University in New York, she was encouraged to audition for roles as part of her education. "I got an appointment for The Sound of Music. I went in on a whim thinking I grew up watching this movie and singing these songs, so why not?" says Anderson.

'Speechless and flabbergasted'

After several call backs, Anderson got a phone call asking if she'd like to tour the country in the leading role. "I was completely speechless and flabbergasted," she admits. Finishing her degree would have to wait; she had less than two months of rehearsal before the tour kicked off in September of 2015 in Los Angeles.

Anderson's life changed so quickly that she didn't really have time for it all to sink in. The day the reality of the whole experience hit her was about three weeks into the tour when her dad was able to come to a show. "I was walking back to my car and I thought, 'My father got to see the show. Oh my goodness, I'm doing a show in LA. I'm playing Maria. Oh my god, what is happening?' It was a powerful moment for me," says Anderson.

Taking on an iconic role can be a daunting task. Anderson says she never tries to play Maria as anyone before her — she just tries to make her portrayal authentic. "What I will thank Jack O'Brien, our director, for until the day I die is he never expected me to be Julie Andrews or Mary Martin or Marie Osmond. He asked me to bring myself into the role, and I'm so grateful for that because that's really all I can do.”

O'Brien calls Maria a "star-making" part and set out to discover an unknown with "star-making magic."

"[Anderson] sang and the tears welled up in my eyes," says O'Brien. "If ever there were an enchanting young woman standing on the brink of discovery, this was it!"

Now, six months in, Anderson says being a touring actress has taught her a lot about herself and life in general. In speaking with her, I couldn't help but draw parallels between her and the character she's bringing to life each night. Much like Maria adjusted to living the simple life of a nun, Anderson has had to simplify. "[When on tour], everything you have with you has to fit in a suitcase ... that's been an adjustment," says Anderson. "I'm learning how to live simply, and that's been a wonderful exercise for me.”

Rave reviews

She must be doing something right based on the rave reviews of her immaculate vocals and her down-to-earth portrayal of Maria. "What we respond to with the role of Maria — whether it's Julie Andrews playing the role or someone else — is the honesty and truth," explains Anderson. "If I am as honest as they are, even if Maria is different, people will have the same response."

It seems the part of Maria is a perfect fit for this young lady — coming into her own much like the character she plays. Anderson has a great understanding of the magic that has continually drawn people to this captivating story for more than a half century. "The messages and themes of the story are universal. Maria is looking for her place in the world and the captain is recovering from grief, and those are universal emotions," says Anderson. "I think everyone who watches it relates to it in some way, and that's why it remains the iconic piece that it is."

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Movie Review

Over-the-top acting and incoherent plot drag down Her Private Hell

Photo courtesy of Neon

Sophie Thatcher in Her Private Hell.

Danish filmmaker Nicolas Winding Refn is not someone who plays nice with the general film world. His 2011 film Drive introduced him to American audiences in a big way, but that pulsating thriller was followed up with artier films like Only God Forgives and The Neon Demon that eschewed coherent plots in favor of moody, atmospheric pieces.

Winding Refn, who hasn’t made a feature film in 10 years, has gone fully down the rabbit hole with Her Private Hell. Taking place in a liminal space that kind of resembles Earth but also feels like someone’s dreams/nightmares, the film focuses on Elle (Sophie Thatcher), an actor currently starring in a sci-fi film. Staying at a hotel with newcomer Hunter (Kristine Froseth), the two bond over their shared passion and the legend of Elle’s father, Johnny Thunders (Dougray Scott), who’s now married to Elle’s friend Dominique (Havana Rose Liu).

After spending a good amount of (mostly incomprehensible) time with that group, Refn introduces Private K (Charles Melton), who seems to be living in post-World War II Japan. He is looking for his daughter, who might have been taken by a mysterious figure known as “Leatherman,” and he will stop at nothing to find her, fighting whoever stands in his way.

It becomes clear almost right away that Winding Refn has no desire to engage in traditional storytelling in this film. The main characters wander through neon-drenched streets and buildings, which are often surrounded by a mist that is referred to on multiple occasions but never explained. Everyone speaks as if in a constant state of wonderment, and there are many moments where it’s unclear if events are actually happening, part of a movie-within-a-movie, or something else entirely.

Unlike his previous films, Winding Refn has taken the characters in this film completely out of the real world, with every scene taking place in a sparsely decorated room or street that is obviously a movie set. While there are moments where this decision really works, especially the striking first shot of a human-like figure mixed in with a cityscape and clouds, most of the time it only adds to the stilted nature of the film as a whole.

In fact, the entire movie has the feel of an avant-garde theater exercise. Every actor seems to be trying to outdo the others with awkward performances and out-sized reactions. Two very specific characters make appearances in both sides of the story for seemingly no reason other than to inject their weirdness into both spaces. The shocking violence that crops up on occasion would have more of an impact if it was related to anything intelligible.

Thatcher (Companion) and Liu (Tuner) are among the young stars who have had breakout moments in recent years, but neither of them is served well by this hot mess of a movie. They, along with Melton, still demonstrate the talent they possess, but the oddity of the film weighs them down. Scott makes an impression for all the wrong reasons, while Froseth is called upon to play a character who might as well not be there at all.

If there’s any kind of message that Winding Refn was trying to convey with Her Private Hell, it’s lost among the flashing lights, overload of pink, and jewel-like structures. Filmmakers who try to make art for art’s sake have a place in the world, but this film too often feels like people are making things up as they go, with no real goal in mind.

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Her Private Hell opens in theaters on July 24.

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