Practically imperfect
As a stage show, Mary Poppins has the same core issue as The Wizard of Oz: the original film version is so iconic that anything (and anyone) else is going to feel like a theme park production. In the case of the new stage version of Mary Poppins , co-created by Cameron Mackintosh, it feels like a very long theme park production. Clocking in at nearly two and a half hours, this new is a bit too long to be truly family-friendly, which begs the question: who is it for (besides Mackintosh's wallet)? NightBlue Performing Arts ' interpretation of the new stage version has a handful of strong performances and the best of intentions, but comes across as amateurish in more ways than one.
The new Mary Poppins, while borrowing heavily from Julie Andrews' cheerful and chipper Disney performance, also tries to honor Travers' original character, who isn't quite as open or loving. This is all well and good, but Jane and Michael are so nightmarish at times, it's a wonder Mary sticks around as long as she does. It's fun to hear old favorites like "Spoonful of Sugar" and "Supercalifragilisticexpialidocious," but many of the new songs drag down the play. (Do we really need to hear about Mr. Banks' broken ideals?) NightBlue doesn't have a large budget, which is absolutely fine, but it's likely that part of the Broadway draw of this new Mary Poppins was its flash and special effects. When those aren't as present, the weaknesses of the script are especially prominent. It doesn't help that David E. Walters' staging is clumsy, and obviously conceived without the venue in mind. On top of this, make-up designer JoAnn Robertsonseems to have urged the actors to cake on the foundation as thickly as humanly possible.
Additionally, Mary Poppins' cast is a mixed bag. Smith's Mr. Banks is perhaps the weakest link: according to his bio Smith is an accomplished singer, but in this production he can barely hit some notes and sports a positively atrocious accent. Harper is an appropriately mischievous Jane, but as her brother Michael, Dahlborn's delivery borders on screechy. Ryan J. Duncan stands out in the dynamic dual role of an empathetic statue and a sweet-natured doll, and Caron Buinis, who also plays a living statue, can compel and delight with the subtlest of facial expressions or vocal inflections. Dooley is a delightful, energetic Bert, serving as a game narrator and Mary's foil, and golden-voiced Anderson gives Mary a startling complexity and bears a striking resemblance to Julie Andrews.
I wanted to like Mary Poppins - like many adults, I have fond childhood memories of watching the film with my family and briefly entertaining a career as a chimney sweep. In their production of the new stage musical, NightBlue attempts a nostalgic intimacy that for the most part falls flat. It seems unnecessary to resurrect the beloved Disney film, because even the biggest budget production with the best cast will likely come up short. NightBlue means well, but when it comes to quality family-friendly entertainment currently running in Chicago, parents are better off taking their children to Schoolhouse Rock Live!
Mary Poppins continues through March 27th at Stage 773, 1225 W. Belmont (map), with performances Thursdays and Fridays at 8pm, Saturdays 2pm & 8pm, Sundays 2pm. Tickets are $25-$37.50, and are available by phone (773-327-5252) or online through Stage773.com (check for half-price tickets at Goldstar.com ). More information at NightblueTheater.com. (Running time: 2 hours 25 minutes, includes an intermission)
Kyrie Anderson (Mary Poppins), Ryan Dooley (Bert), Joseph Smith (Mr. Banks), MacKenzie Skye (Mrs. Banks), Sage Harper (Jane Banks), Liam Dahlborn (Michael Banks), Caron Buinis (Miss Andrew, Queen Victoria), Judy Knudtson (Mrs. Brill, Nymph), Matthew Provencal (Robertson Ay, ensemble), Sierra Naomi (Bird Woman, ensemble), Eileen Casey (Mrs. Corry, Miss Smythe), Ryan J. Duncan (Neleus, Valentine), Jake Stempel (Von Hussler, Park Ranger, Mr. Punch), Brian Fimoff (Northbrook, Toy, ensemble), Tim Casey (Admiral, Bank Chairman), Kara Schoenhofer (Miss Lark, Teddy Bear, ensemble), Mo Allen (Katie Nanna, Annie, Doll, ensemble), Josie Burck (Fannie, Doll, ensemble), Paul Packer (Policeman, ensemble), Riley Stone (u/s Michael)
Sheldon Miller (pit conductor, piano 1, rehearsal pianist), Manuel Ramos (clarinets), Suzanne Gillen (flute, piccolo), Karen Mari (trombone, euphonium), Dan Kristan (bass), Brent Roman (drums, percussion)
behind the scenes
David E. Walters (director, producer, costume design), Austin Cook (music director), Kevin Bellie (choreography), Christina Peterson (assistant director), Paul Packer (assistant producer, marketing), Eric Hawrysz (assistant producer, program design, advertising), Brian Beach (assistant producer), Max Maxin (projection design), Diane Kaffka (scenic design), Louise Rogan (dialect coach), Peter O'Neill (technical director), Erik Barry (lighting design), Kelly Brooks, Christopher Cummings (co-sound design, operator), Liz Tanner (prop design), David Walters, Chicago Fly House (flight design), Laura Walters (co-costume design, costumer), JoAnn Robertson (costumer, wigs and make-up design), Marissa Gill (paint charge), Liz Tanner, Jess Koster (stage managers), Andrew Palmer, John Ofori, Daniel Drust (stage hands), David Rosenberg (public relations), Graham Emmons (graphic design services), Richard M. Sherman , Robert B. Sherman (original music and lyrics), George Stiles , Anthony Drewe (additional music and lyrics), Julian Fellowes (book), Emily Schwartz (photography)
Tags: 16-0302, Andrew Palmer, Anthony Drewe, Austin Cook, Brent Roman, Brian Beach, Brian Fimoff, Cameron Mackintosh, Caron Buinis, Chicago Fly House, Chicago musical theater, Chicago Theater, Christina Peterson, Christopher Cummings, Dan Kristan, Daniel Drust, David E. Walters, David Rosenberg, David Walters, Diane Kaffka, Eileen Casey, Emily Schwartz, Eric Hawrysz, Erik Barry, George Stiles, Graham Emmons, Jake Stempel, Jess Koster, JoAnn Robertson, John Ofori, Joseph Smith, Josie Burck, Judy Knudtson, Julian Fellowes, Kara Schoenhofer, Karen Mari, Kelly Brooks, Kevin Bellie, Kyrie Anderson, Laura Walters, Liam Dahlborn, Liz Tanner, Louise Rogan, MacKenzie Skye, Manuel Ramos, Marissa Gill, Matthew Provencal, Max Maxin, Mo Allen, NightBlue Performing Arts, P.L. Travers, Paul Packer, Peter O'Neill, post, Richard M. Sherman, Riley Stone, Robert B. Sherman, Ryan Dooley, Ryan J. Duncan, Sage Harper, Sheldon Miller, Sierra Naomi, Stage 773, Suzanne Gillen, Tim Casey, Walt Disney
Category: 2016 Reviews, Lauren Whalen, Musical, NightBlue Performing Arts, Stage 773
