‘ POPPINS’ HOPSTOIT
SpeedyMercury Theater production will appeal to both kids and adults
As brisk and self- assured as the “practically perfect” nanny of its title— a woman who knows just when a family needs her services most and just when it is time to grab her carpetbag and umbrella and fly off to another assignment— Mercury Theater Chicago’s production of “Mary Poppins” moves like the wind.
Director L. Walter Stearns wastes no time at all in spinning a story that almost everyone between the ages of 5 and 95 can summarize in a flash. He just sweeps his audience right into all the familiar pleasures of the musical inspired by P. L. Travers’ tale ( and the Disney film) about the healing of a dysfunctional uppermiddle- class Edwardian English family. And choreographer Brenda Didier gets everyone dancing in demanding high style in the show’s two big numbers—“Supercalifragilisticexpialidocious” and “Step in Time.”
Nothing is belabored here, as two children ( and their parents) are deftly transformed by the magical ways of a woman who knows what is of value in life, though perhaps isn’t quite as perfect when it comes to settling into romantic happiness for herself. And the result is a show that moves just quickly and efficiently enough to appeal to both adults and children.
Mary Poppins ( the easily engaging Nicole Armold, whose powerful voice and natural acting bring a lovely reality to her character) arrives at the home of the Banks family on Cherry Tree Lane in London just in the nick of time, and she is an ideal fit according to the requirements listed by the Banks children ( played on opening night by the impressive Casey Lyons as Michael and Sage Harper as Jane, with Peyton Owen and Pearle Bramlett as alternates). To be sure, Poppins is a no- nonsense young woman, but she brings her own particular touch of magic and imagination to even the most mundane activities. And along with her friend, that fleet and whimsical chimney sweep and weekend painter, Bert ( Matt Crowle, a song-and- danceman of blithe talent and easy grace)— who clearly is in love with her, but senses the futility of pressing his case— she brings a sense of joy into the children’s life and also does her part in repairing the tense relationship between their parents.
It is husband and father George Banks ( rail thin Kevin McKillip, who manages a Scrooge- likemisanthropy and enlightenment)— a rigid, socially conscious, financially insecure bank manager— who is the children’s biggest problem. Clearly deeply scarred by his own authoritarian nanny, Miss Andrew ( clarion- voiced Holly Stauder is pitch- perfect as this soulcrushing woman), he is emotionally closed to Michael and Jane just when they need him most. He also finds constant fault with his wife, Winifrid ( a warm portrayal by the richvoiced Cory Goodrich).
Set designer Adam Veness again proves himself a master of putting big ideas on small stages. Rachel Boylan’s costumes are full of color. And yes, Mary Poppins has a couple of brief, decidedly modest but perfectly effective bits of flying ( courtesy of Vertigo), although it is the upended kitchen pantry ( which magically rights itself) that earns almost as much applause.
Finally, applause too for music director Eugene Dizon’s unseen ( but highly skilled) band, which includes Linda Madonia, Anthony Rodriguez, Greg Strauss, LindsayWilliams and Sarah Younker.