Cabaret Scenes Theatre Review

Where she comes from, nobody knows, but down she parachutes, umbrella open, carpetbag in hand, landing "spit-spot."

It is Mary Poppins, of course, currently cavorting around and above the New Amsterdam Theatre stage, dispensing discipline with "A Spoonful of Sugar."

"I'm practically perfect in every way," she says, appearing at 17 Cherry Tree Lane in Edwardian London, the nanny-challenged home of George Banks, a workaholic, detached father, Winifred, his loving but lonely wife, and Michael and Jane, their two neglected, unruly children.

"You'll never leave us, will you?" Michael asks the sometimes stern, sometimes nurturing Mary.

"I'll stay till the wind changes."

Mary, played by Ashley Brown, an angular young performer with a determined grin, a strong soprano voice and light footwork, possesses supernatural powers. She talks to the wind and animals, and is connected to mythology. Magically, she manipulates her surroundings so by the end, the father has learned to enjoy and not just support, his family; the children know how to have fun with responsibility; and the relieved mother is able to do her maternal and wifely duties.

The P. L. Travers book, the Disney film, and the Disney-Cameron Mackintosh financially flamboyant stage adaptation differ in their interpretations of Mary Poppins' role and character. Many theatre-going adults will miss the meat in this stew, or prefer the haughty aloofness of the book's Mary Poppins, or the grace of Julie Andrews in the beloved film. You cannot please everyone, but the theatrical edgier Mary tries, laboring somewhere in the middle.

Co-directed by Richard Eyre and Matthew Bourne, grandiose production numbers embroider Julian Fellowes' disjointed adaptation that veers down episodic avenues. Richard M. Sherman and Robert B. Sherman reprise the charming, chirpy tunes like "Chim Chim Cheree", — from the film, with new additions by George Stiles and Anthony Drawer. The brewing of traditional with theatrical brings everything to a spectacular level. Phantasmagorical sequences are tucked in and can probably be plucked out without changing the story. Bourne's choreography includes an ethereal English park sequence suddenly alive with dancing statues. A "conversation" store that seems to be located somewhere in the Caribbean inspires "Supercalifragilisticexpialidocious," everyone spelling out the word with their arms, much like the Village People's "YMCA." Welcome to the Golden Age of Technicolor Movie Musicals meets Cirque du Soleil.

Special kudos to Gavin Lee from the London production, who steals the show as Bert. He is a lanky chap with the good humor and casual hoofing of Dan Dailey and the inventive spirit of Fred Astaire. Witness his show stopping "Step in Time," dancing up the sides of the stage, upside-down over the top, and down the other side.

Rebecca Luker as Mrs. Banks communicates personal warmth. Her full voice is rich with poignancy in "Being Mrs. Banks," ("I have a name that tells the world/ I'm someone else's wife"). Mr. Banks is a twitchy kind of fellow, not the most likeable man, but Daniel H. Jenkins communicates him as one trying his best. The other supporting characters serve splendidly, including three vivacious rotating duets of the children.

Bob Crowley's sets and costumes are beautifully detailed, including the four-story Edwardian Banks house, with the elevating children's floor lowering and raising as needed.

At the end, the wind changed and Mary was flying off, "Up through the atmosphere/ Up where the air is clear," clutching her carpetbag of magic and her trademark umbrella. Mary Poppins is a children's show, an eye-popping theatrical extravaganza for those able to sit through more than two and a half hours.

Elizabeth Ahlfors
Cabaret Scenes
November 21, 2006
www.cabaretscenes.org



	Mary Poppins New Amsterdam Theatre New York, NY
Where she comes from, nobody knows, but down she parachutes, umbrella open, carpetbag in hand, landing "spit-spot." It is Mary Poppins, of course, currently cavorting around and above the New Amsterdam Theatre stage, dispensing discipline with "A Spoonful of Sugar." "I'm practically perfect in every way," she says, appearing at 17 Cherry Tree Lane in Edwardian London, the nanny-challenged home of George Banks, a workaholic, detached father, Winifred, his loving but lonely wife, and Michael and Jane, their two neglected, unruly children. "You'll never leave us, will you?" Michael asks the sometimes stern, sometimes nurturing Mary. "I'll stay till the wind changes." Mary, played by Ashley Brown, an angular young performer with a determined grin, a strong soprano voice and light footwork, possesses supernatural powers. She talks to the wind and animals, and is connected to mythology. Magically, she manipulates her surroundings so by the end, the father has learned to enjoy and not just support, his family; the children know how to have fun with responsibility; and the relieved mother is able to do her maternal and wifely duties. The P. L. Travers book, the Disney film, and the Disney-Cameron Mackintosh financially flamboyant stage adaptation differ in their interpretations of Mary Poppins' role and character. Many theatre-going adults will miss the meat in this stew, or prefer the haughty aloofness of the book's Mary Poppins, or the grace of Julie Andrews in the beloved film. You cannot please everyone, but the theatrical edgier Mary tries, laboring somewhere in the middle. Co-directed by Richard Eyre and Matthew Bourne, grandiose production numbers embroider Julian Fellowes' disjointed adaptation that veers down episodic avenues. Richard M. Sherman and Robert B. Sherman reprise the charming, chirpy tunes like "Chim Chim Cheree", — from the film, with new additions by George Stiles and Anthony Drawer. The brewing of traditional with theatrical brings everything to a spectacular level. Phantasmagorical sequences are tucked in and can probably be plucked out without changing the story. Bourne's choreography includes an ethereal English park sequence suddenly alive with dancing statues. A "conversation" store that seems to be located somewhere in the Caribbean inspires "Supercalifragilisticexpialidocious," everyone spelling out the word with their arms, much like the Village People's "YMCA." Welcome to the Golden Age of Technicolor Movie Musicals meets Cirque du Soleil. Special kudos to Gavin Lee from the London production, who steals the show as Bert. He is a lanky chap with the good humor and casual hoofing of Dan Dailey and the inventive spirit of Fred Astaire. Witness his show stopping "Step in Time," dancing up the sides of the stage, upside-down over the top, and down the other side. Rebecca Luker as Mrs. Banks communicates personal warmth. Her full voice is rich with poignancy in "Being Mrs. Banks," ("I have a name that tells the world/ I'm someone else's wife"). Mr. Banks is a twitchy kind of fellow, not the most likeable man, but Daniel H. Jenkins communicates him as one trying his best. The other supporting characters serve splendidly, including three vivacious rotating duets of the children. Bob Crowley's sets and costumes are beautifully detailed, including the four-story Edwardian Banks house, with the elevating children's floor lowering and raising as needed. At the end, the wind changed and Mary was flying off, "Up through the atmosphere/ Up where the air is clear," clutching her carpetbag of magic and her trademark umbrella. Mary Poppins is a children's show, an eye-popping theatrical extravaganza for those able to sit through more than two and a half hours. Elizabeth Ahlfors Cabaret Scenes November 21, 2006 www.cabaretscenes.org

Mary Poppins

New Amsterdam Theatre New York, NY

New Amsterdam Theatre
New York, NY