Editing The Sound of Music (section)

==Reception==
Most reviews of the original Broadway production were favorable. [[Richard Watts Jr.]] of the ''[[New York Post]]'' stated that the show had "strangely gentle charm that is wonderfully endearing. ''The Sound of Music'' strives for nothing in the way of smash effects, substituting instead a kind of gracious and unpretentious simplicity."<ref name=Suskin>Suskin, pp. 460–64</ref> The ''[[New York World-Telegram and Sun]]'' pronounced ''The Sound of Music'' "the loveliest musical imaginable. It places Rodgers and Hammerstein back in top form as melodist and lyricist. The Lindsay-Crouse dialogue is vibrant and amusing in a plot that rises to genuine excitement."<ref name=Suskin/> The ''[[New York Journal American]]''{{'}}s review opined that ''The Sound of Music'' is "the most mature product of the team ... it seemed to me to be the full ripening of these two extraordinary talents".<ref name=Suskin/>

[[Brooks Atkinson]] of ''[[The New York Times]]'' gave a mixed assessment. He praised Mary Martin's performance, saying "she still has the same common touch ... same sharp features, goodwill, and glowing personality that makes music sound intimate and familiar" and stated that "the best of the ''Sound of Music'' is Rodgers and Hammerstein in good form". However, he said, the libretto "has the hackneyed look of the musical theatre replaced with ''[[Oklahoma!]]'' in 1943. It is disappointing to see the American musical stage succumbing to the clichés of [[operetta]]."<ref name=Suskin/> [[Walter Kerr]]'s review in the ''[[New York Herald Tribune]]'' was unfavorable: "Before ''The Sound of Music'' is halfway through its promising chores it becomes not only too sweet for words but almost too sweet for music", stating that the "evening suffer[s] from little children".<ref name=Suskin/>