Sniffily reviewed by many critics, the giant wide-screen film of The Sound of Music went on to become one of the biggest box-office hits of all time.

Much more recently, Rodgers and Hammerstein’s last musical hit the headlines again when Andrew Lloyd Webber decided to cast the principal role in his new London Palladium production of the show by staging a TV talent contest called How Do You Solve a Problem Like Maria?

The winner was Connie Fisher, who now returns to the production as it hits the road. And the first thing that strikes you when she floats the opening words, “The hills are alive with the sound of music,” into the air is how fresh she sounds. Goodness knows how many performances she has under her belt by now, but you really do feel that she is off to meet the von Trapp family for the very first time. As I Have Confidence and Do-Re-Mi follow, it’s possible to sense that she has studied Julie Andrews’s iconic film performance carefully, but there is an impishness about Connie Fisher’s Maria that is all her own – the whole production (director Jeremy Sams) is less treacly and sentimental than the film.

Instructed by the Mother Abbess (Margaret Preece, who delivers a roof-lifting Climb Ev’ry Mountain), postulant Maria leaves her convent to take up a position as governess to the seven von Trapp children. The children are as important to the show as Maria herself, and whoever is training them (presumably resident director Gavin Mitford) deserves the highest praise. With the exception of the two eldest (Tony Kemp and Claire Fishenden, both excellent), three rotating teams of children are used. On opening night they were superb, singing clearly and confidently, obviously well rehearsed, yet each displaying a sturdy individual character. As they blossom under Maria’s tutelage, no wonder their father, Captain von Trapp (Michael Praed, less explosive than the film’s Christopher Plummer, but still a force to be reckoned with), starts to fall for his new governess.

There are no obvious signs that the production has been pared back for touring, with lush scenery and costumes (designer Robert Jones) all present and correct. And, hurrah, for once the sound amplification is exemplary: every word clear over the lively band (musical director Jonathan Gill), and volume levels just right. The Sound of Music may not be the best thing Rodgers and Hammerstein wrote, but the capacity opening night Milton Keynes audience plainly loved this show, and so did I.

The Sound of Music continues at Milton Keynes Theatre until Saturday, November 14. Tickets 0844 871 7652 or online: (www.ambassadortickets.com/miltonkeynes)