So.
Last week I went to see the Sound of Music out at Wolf Trap, which was (for the most part) lovely. Beautiful evening, great company, relatively talented cast that didn't make my super snooty I-grew-up-near-Broadway-did-I-mention-that ears cringe.
Yes. My ears can cringe. What?
After I got over Maria having a southern drawl (I mean, cmon now. No one will ever be Julie Andrews except Julie Andrews and it's probably time I just realize that and get over it. And then rent Mary Poppins), I really did enjoy the entire experience. Sure, I was a little upset that they didn't include "I Have Confidence," the song from the movie that I play LITERALLY every time I start a new job, get on a plane, have to pump myself up. And yes - I was intrigued by the song that the Baroness and Max sang, not remembering it from the movie, but finding it pleasant at the same time. And while my blood pressure rose when the Reverend Mother knew all the words to "My Favorite Things" (how does SHE know about schnitzel with noodles. Bad abbess) and then peaked when the kids sang the goatherd song during the thunderstorm in LIEU of "My Favorite Things" - I was doing OK.
For me. At a non-Broadway production of one of my favorites, ever.
Except at the end. Now, if you haven't seen the movie (get off this blog. Get off it right now, you cretin. What's wrong with you? It's JULIE ANDREWS!!! HAVE YOU HEARD HER VOICE?! It's like sweet sweet Siren song except instead of shipwrecked you get MORE JULIE ANDREWS!!!) OR the musical, I might stop reading at this point because there's a bit of a spoiler alert coming. Go ahead. Stop reading.
Now that we've gotten rid of the assholes.
Ok, so you know at the end of the movie, after the family has sung and Captain Von Trapp has made googly eyes at the camera and I've gone all weak around the knees and wet around the underpants? And then the kids sing so long, farewell, and then Maria and Georg (because even though the Baroness pronounces it Gay-ogg, that's his name) say, PEACE OUT NAZI BITCHES! Right? And then they're suddenly in the abbey, and hiding in the cemetery, and the nazis don't see them, and then the one left comes into the light, and it's ROLFE, Liesl's super hot telegram delivering friend?
Sidenote - I have always wanted a telegram. Delivered by Rolfe, preferably.
Anyway, then the idiot gasps (I mean, can you blame her? She's only 16 (going on 17)) and Rolfe notices and hangs back, and then when the Von Trapps start to leave he confronts them and then Captain Von Trapp is all what the fuck do you think you're doing, and Rolfe is like wah wah I'm a weak little boy seduced by the evil bullshittery that IS Hitler let me go wet my nazi pants and then Georg says "I knew you didn't have it in you" or whatever and BAM, Rolfe gets his nazi balls in a twist and starts blowing on that whistle like it's his fucking shitheadery job, and you're heartbroken for Liesl and scared for the Von Trapps and also intrigued by the irony of the juxtapositioning of the whistle at the beginning of the movie and now?
What. Just me? Well, fine.
Anyway, the Von Trapps get away into those beautiful hills that are alive with the sound of music, and as we all know, they eventually made it to the U.S. because their children or grandchildren recently sang on some morning show and depressed the shit out of me (they were, to say the least, no Julie Andrews). And you wonder about Liesl, and if she grew up to be a bitter woman who trusted no man, or if instead she put her anger to good use and found a Viktor Laslow type to support, which would allow Ingrid Bergman to stay back in Casablanca with Rick??
Ok. This DEF just me.
Well, I was sitting during that lovely night at Wolf Trap, full of excited apprehension about the imminent betrayal of Rolfe and the subsequent awesomeness of the nuns ("I have sinned Reverend Mother." "I too, Reverend Mother." Cue car parts, WOOHOO!) and then?
Rolfe didn't turn the Von Trapps in.
I mean he didn't fucking turn them in! He found his Austrian balls and told the nazis to fuck off. Well, not literally, because then he'd be dead and where would we be? But he knows it, Liesl knows it, and Captain Von Trapp knows it.
I suppose Ingrid Bergman has to get on the plane after all.
Now this was a major plot twist. I was livid. I ignored Southern Maria's "y'all" as she drawled out the last bit of the song, packed up my things in a huff, and subjected my poor friends to a tirade about the shittiness of non-Broadway theatre (pronounced, "thee-a-tah"), got home, and googled "Sound of Music" AND "Rolfe" AND "nazi shittass betrayer"
OR something like that.
And it turns out? That my beloved movie - my first Julie Andrews aural orgasm - my FAVORITE FUCKING THING - lied to me. In the original Rodgers and Hammerstein version, Rolfe DOES do the right thing, and he DOES man up, and he DOES lie to the nazis. The Von Trapps get away, and Liesl will forever love him as the Boy who Lived... er... Boy who Saved her Family.
I am all mixed up at this point.
And for whatever reason - and I can't find one, for all my googling - the movie changed it. In doing so, it taught me a lesson about nazis (you know - never trust the fuckers) but also about men in general. They might spin you around the greenhouse during a romantic thunderstorm, but in the end, when they say "I-I'lllllll take ca-aaaaaaaare of you!" and then kiss you, they are not to be trusted.
Especially with a whistle.
If only I had known this, all my relationships with men might have been different. I might not have ever needed to play "I Have Confidence" on my way to a first date. I might never have broken into song after sex!
Ok. I probably would have.
But still. I'm angry. I'm upset. I'm going to have to devote at least three therapy sessions to this, and I really have some actual issues to deal with! Like! You know!
How to get over my snooty Broadway problems?