Oh, c'mon! You know you want to. Go and see The Sound Of Music, I mean. Cool? No. Manly? Possibly not. But who can pretend they don't have a soft spot for its heartwarming themes.

We'll set to one side the fact that Rodgers + Hammerstein (and perhaps more to the point, Howard Lindsay & Russ Crouse, who wrote the book) were inexplicably and, arguably, irresponsibly forgiving of the church, which had very little part to play, unlike Spike Millgan, in Hitler's downfall. Then again, let's not be naive: a boot to the vulnerable groin of that institution might well have dented, or destroyed, universal esteem for their musical.

But who in their right, amateur musical societal minds would dare stage a musical inextricably associated with the incomparable Julie Andrews, above all? Well, CMS, it seems. And director Annie Veitch, who surely must've felt not merely confident, but downright cocky, at least privately, about the cast and production crew. As well she might.

From the front cover design of the programme, to the venue (the Gillian Moore Centre for Performing Arts, Pymble Ladies' College, which gives little away to the SOH); set design and construction, which might have been a little rough 'round the edges but, hey, this is amateur theatre; crystal-clear sound; professional-standard lighting; this was, and is, a production to make any company envious. OK, there were a few blue notes from brass, reeds and strings, here and there, but on the whole, the orchestra, too, under the baton of Gerard Plummer (no relation to Christopher, as far as I know) was resplendent.

There were some convincing and relative dance steps, inculcated by choreographer Laurie Tancred, even if a rather diminutive Rolf had a little trouble sweeping a statuesque Liesl off her feet.

To elaborate a little on set design, Neil Shotter had us in Maria's abbey, which was swiftly transformed (by the descent of some large arched windows) into the Von Trapp estate. With just a little willing suspension of disbelief and some deft lighting, the immovable backdrop of the alps took on many of the moods of the musical itself. And Wendy Walker, presumably using the film as her template, locked-on to a slightly hokey, nostalgically edifying costume aesthetic.

Jeremy Curtin has a solid, reliable voice (certainly quite a few notches up the vocal foodchain from Christopher Plummer's), if a rather colourless, passionless one; while Captain Von Trapp is an aloof figure, his vulnerability shows through, at times, but it was hard to read any real range in the character, as played by Curtin.

Kelly Phythian, by contrast, was a cookie-cut Maria and has a voice that even Ms Andrews might've regarded as a threat, while still in her prime.

Andrew Davis was a characterful Max, embodying the legions of 'we didn't know' Germans and Austrians to a tee. He has a more than capable voice and an easy charisma, even if his paunch makes it hard to believe he was an adept of classical ballet some years ago. (Then again, look at the now tubby Paul Mercurio.)

Jonathon Holmes made for a much more sympathetic Rolf than in the film. He has charm and a strong voice, even if his colouring, like the Fuhrer's, falls short of the Aryan ideal.

Erin Hosking, as Elsa, sported the most effortless voice of all and, were she just a little more sylph-like, could easily have played Maria. Still, she had the grace to know her part and didn't seek to overshadow.

Tisha Kelemen has a powerful, operatic voice that surely would've been the envy of Eleanor Parker's feeble, struggling, instrument. She's also quite the commanding actor. She even hits the most nerve-wrackingly high notes with surety.

Ashleigh Rubenach is a star in the making: like Liesl, hovering around just 17, she has a fine voice, stunning looks and is already a confident and convincing actor. Expect to see her in professional productions within a few years. Then you can smugly say, 'I was at the Gill Moore Performing Arts Centre, where all this began'.

Hayden Tonazzi, probably even younger, as Friedrich, has the makings of a big bass-baritone, so watch and listen out for him, too. Caitlin Plummer (again, no relation, as best I know, to old Chris), as Louisa, Tom Jenkins (Kurt), Brieann Rigby (Brigitta), Tahlia Pulvirenti (Marta) and tiny Laura Fisher (Gretl) were all as cute as buttons and played their parts to practical perfection. Denise Abo's Frau Schmidt had a suitably hard, stoic, Teutonic edge and Graham Bone's Franz (the butler) had a slightly menacing quality, befitting his Nazi sympathies. The 'Sister act' comprising Christina Kafalias, as Margaretta, Marisa Panzarin, as Berthe, and Hannah Reid, as Sophia, was brilliant, as was the rest of the chorus, ensemble, supporting cast; whatever you like to call them.

This was The Sound Of Music to my ears, hitting all the right notes vocally and visually, and plucking all the right heartstrings.