Christiane Noll is stepping into one of musical theater’s most iconic roles as Mother Abbess in the national tour of The Sound of Music.
Noll is bringing her own warmth, humor, and emotional depth to a character audiences have known for generations. The Broadway veteran and Tony Award nominee approaches the role not as a static symbol of wisdom, but as a fully realized human being: layered, curious, and quietly powerful.
I chatted with Noll about what it means to take on such a beloved classic in today’s world, where the show’s themes of resilience, moral courage, and resistance feel newly urgent. We also dove into her fresh interpretation of Mother Abbess, the emotional weight behind “Climb Ev’ry Mountain,” the unique experience of touring this production across the country, how her perspective on her craft continues to evolve over time, and more.
What does it feel like to step into a show like The Sound of Music, where audiences already know and love it so deeply?
It can be daunting! But generally speaking, it really is like a warm blanket. People are already primed. They know it, they’re familiar with it, they’re humming along. They can’t help themselves. There’s a lot of goodwill from the start.
So stepping into all the cities we’ve visited has been really special. It’s not just another show. Audiences feel a sense of ownership because they know it so well! I’ve been loving every minute of that.
So do you find that audiences come in with very specific expectations because of the movie?
Oh, absolutely. I can’t imagine that they wouldn’t. The musical actually predates the movie by about six years, so the film took some creative license with the original work. But people watch the movie year after year, so that’s what most know best.
When they come in and see that Mother Abbess sings “My Favorite Things,” it can throw them off a bit at first. But the way we present it is very playful, joyous, and fun, and I think they quickly realize, “Oh, okay, we’re in good hands.”
Speaking of “My Favorite Things,” one thing that stood out to me about your performance is how much warmer and more whimsical your Mother Abbess feels — especially in that scene. What led you in that direction and how did you find your interpretation of her?
Without getting too “actor-y,” the first thing I always do is go back to the script, even if I’ve done the show before. I ask, “Why is she doing this? Why is this happening?”
Traditionally, Mother Abbess can be played very straightforward. She’s the nun, Maria doesn’t fit in, so she’s sent away. But I thought, “She’s a person, too.” Human beings are complicated and messy. Jack O’Brien is such a brilliant director, and he saw me playing around with ideas and had some of his own. Fortunately, we were completely aligned, and everything clicked right away.
I’m a bit quirky myself, so that naturally comes into the room. But ultimately, it’s about asking “why” and building answers from there. That creates a version of her that feels more human, with unexpected turns that make her feel like a living, breathing person.
Do you think Mother Abbess is guiding Maria or challenging her?
Both! I think my Mother Abbess sees parts of herself in Maria, parts she may not have been able to explore, or has had to set aside because of her position.
That’s why “My Favorite Things” is such a joyful explosion. You see where they overlap. But then it’s right back to, “No, you still have work to do.” She challenges Maria to look beyond what she thinks she knows. To take difficult turns, to do difficult things. It’s such a wonderful role.
“Climb Ev’ry Mountain” is one of the most iconic songs in musical theater. What does it mean to you to sing it now, and how do you keep it feeling emotionally fresh at every show?
Because I have very real things that I’m singing about, it hits me differently every day! I’m a mother of a 17-year-old, I’m a wife, I have a family, and I’m balancing all of that while doing this job. I go home every two weeks, and we make it work as a team. That life is part of who I am.
So when I sing about making difficult choices, or following your dream, I’m not just acting, I’m living that. I think if everyone reflects on what those lyrics mean in their own life, it can’t help but affect you emotionally. It taps into something very real. Because of that, there’s never an end to what I can draw from. It’s always evolving.
There are many themes of this WWII-era story that have eerie parallels to the world today, such as fighting for the promise of your country when those in charge work to dismantle its values and the foundation that once defined it. How does what’s happening in the world today inform this production? What does the Von Trapp’s story teach us about resistance to tyranny?
I think those lessons have always been there, we just hear them differently depending on what’s happening in the world. A friend of mine saw an early performance and said, “Did you rewrite this?” And I said, “No.” But it feels that way because we’re more attuned to it. It’s like when you decide to buy a certain car, and suddenly you see it everywhere. That’s what’s happening here.
We’re watching something we think we know — this warm, familiar story — and then suddenly we’re confronted with these very real, very present themes. And the interesting thing is: we know what happens historically. But, of course, the characters don’t. Some think they’re doing the right thing. Others feel something is wrong but don’t know what to do. That tension creates moments where audiences go, “Oh…” and they’re not sure how to feel, because it’s so close to where we are now.
Have you noticed differences in how audiences respond in different cities on tour?
Yes! Some audiences are more comfortable laughing at nuns than others! The first 20–25 minutes of the show are anchored in the convent, so I get to feel out the room. Some audiences are cautious at first, like, “Are we allowed to laugh?”
But once they realize, “Oh, the nuns are funny, this is okay,” they relax. And by the time we get to the kids, they’re fully on board.
What have been some of your favorite cities to visit on tour?
We’ve been to so many wonderful places! Coming up, we’re heading to New Haven and Philly, which are great because they’re closer to home. We’re also going to Atlanta, Cleveland, L.A., Reno, Denver, San Jose — and even Mexico, which is very exciting.
The tour is continuing into a second year, so it’s really ongoing. What I love most is seeing families come together – grandparents, parents, kids — and watching younger audiences experience the show for the first time. It plants a beautiful seed.
In real life, do you feel more like a Mother Abbess, a Maria, or another character in the show?
That’s changed over time! I’m a parent now, so there’s definitely some Mother Abbess in me. I’m leading by example. But I also still get into trouble like Maria. And at one point in my life, I was definitely more like the Baroness, very sure of everything. So I think I’ve lived through a lot of these characters in different ways.
What does a perfect day off look like for you while on tour?
Honestly, flying home and being with my family! I’ll do this triangle where I close in one city, fly home, stay for 24 hours, and then fly to the next city.
If I can’t do that, then a perfect day is something simple: exploring a new city, having a good meal, going for a walk, going to the gym, or just being alone. I’ve really come to appreciate that solitude. It’s a gift.
You’ve had such an illustrious career. What still excites you about stepping on stage today and are there any musical theater bucket list roles you’re still hoping to play?
I used to say my dream role hasn’t been written yet because it would be written for me. But playing Mother Abbess has shifted my perspective. I’m almost 60 and there are so many roles for women at this stage in life that are so rich and interesting.
I’ve also learned to let go a bit. Early in my career, I was very driven. I had this attitude of, “I’m going to get that role.” Now it’s more like surfing. I do the work, I stay ready, and if the wave comes, I ride it. If more comes, wonderful. If not, I’ve had an incredible run.
But what excites me most now is being present. I love stepping onstage every night and exploring these characters with this amazing cast.
Thank you so much, Christiane! Is there anything else you’d like to add we didn’t discuss?
Just a huge shoutout to this creative team and this cast! Every single person is incredible and I truly mean that. We’re doing something really special, and I hope people come for the familiarity and stay for the quality. Bring your friends, your kids, your grandparents. Bring everyone!
CLICK HERE to purchase tickets to The Sound of Music, coming soon to a city near you.
PHOTOS | JEREMY DANIEL