This season’s family show at The Muny is about a family in crisis. It is rescued from its dysfunction by the title character of Mary Poppins. The Muny’s current production of the show is thoroughly delightful.
The show’s full name is Disney and Cameron Mackintosh’s Mary Poppins. It is based on the 1964 Disney film featuring the Academy Award–winning score by the Sherman brothers along with new music by George Stiles and Anthony Drewe. The book is by Julian Fellows (of Downton Abby fame), who draws on the books by P. L. Travers as well as the Disney film.
Mary Poppins is a nanny who unexpectedly pops into the home of the Banks family at exactly the right time. Jane and Michael, the rebellious children, have just driven off another nanny. Their behavior is far cry from the precision and order their father, George, cries out for.
A terrifying nanny stunted George’s dreams and outlook when he was young. Now he wants to focus only on his job at a bank so he can provide for his family without being distracted by it. His wife, Winifred, gave up the stage to marry George. Now she has grave doubts about whether she can live up to his expectations of her.
With her uncanny powers and insights, Mary Poppins enables everyone in the Banks family to get back on the right track. What she teaches is relevant to contemporary families, too.
Jeanna De Waal’s portrayal of Mary Poppins is beautifully sung and astutely acted. The “practically perfect” nanny has the aplomb she needs to be in control of every situation, whether it requires a stern hand or a spoonful of sugar.
Mary’s friend, Bert, is a man of many occupations. He always a has a winning personality and bounce in his step in the performance by the superb song-and-dance man, Corbin Bleu.
Nehal Joshi and Erin Davie have the full measure of the Banks parents on their journeys of self-discovery. With help from Mary Poppins, Nehal’s George Banks learns how to care about other people at home and at work, and Davie’s Winifred develops the self-confidence she needs to be a full partner in her marriage. Gabe Cytron as Michael and Laila Fantroy as Jane convincingly transform the Banks children from imps to angels.
Darlesia Cearcy brings haunting poignance to the song of the woman who feeds the birds. Jade Jones is the most welcoming of proprietors as Mrs. Corry, who owns a shop that sells words along with sweets.
The servants are given the requisite contrast in personality by Zoe Vonder Haar as the formidable Mrs. Brill and Barrett Riggins as the apprehensive Robertson Ay. When Miss Andrew arrives at the Banks’s home, Debby Lennon makes it easy to understand why George is still afraid of his former nanny.
Vivid supporting performances come from Lynn Humphrey as Miss Lark, Devin Neilson as Neleus, Rich Pisarkiewicz as the policeman, Whit Reichert as Admiral Boom and the bank chairman, Wesley Slade as Northbrook, and Jerry Vogel as the park keeper and Von Hussler.
John Tartaglia’s direction has the same inventiveness, energy, and insight as all his work at The Muny. Patrick O’Neill’s exuberant choreography takes full advantage of the space on the Muny stage. In its space beneath the stage, the Muny Orchestra sounds wonderful under music director Brad Haak
The production is filled with treats for the eyes and ears from scenic designer Paige Hathaway, video designer Alex Basco Koch, costume designer Robin L. McGee, wig designer Kelley Jordan, lighting designer Rob Denton, sound designers John Shivers and David Patridge, and puppet designers Puppet Kitchen and Eric Wright.
The show has many fine special effects but saves the best for last. ZFX is responsible for the flying at The Muny, where the airborne Mary Poppins surely travels farther than she does in any other theater.
—Gerry Kowarsky
Photo by Phillip Hamer.
From left: Jeanna De Waal as Mary Poppins, Laila Fantroy as Jane Banks, Barrett Riggins, Robertson Ay, and Gabe Cytron as Michael Banks.
