When I was in elementary school, I was in a 3 year production of OLIVER! To learn a British accent, the director had me watch "Mary Poppins" over and over, and over again.
And I've always asserted that "Mary Poppins" made me gay.
I had that reaffirmed last night when I went to see the new Broadway musical version of the iconic Disney film.
"Mary Poppins" opened on Broadway in November of 2006. Disney and Cameron Macintosh moved their hit musical, "The Lion King", from the New Amsterdam to the Minskoff Theater to accommodate what they anticipating being a smash-hit. Boy, did they hit that one on the head!
This show embodies all of the superfluous elements that theater-goers crave. You get huge awe-inspiring sets, every color in the rainbow in the brightest possible hues, the glitz that reminisces the golden age of Follies, and dazzling special effects that have become commodities in Disney's musical productions.
The set and costume designs were the standout aspects of this production. The dancing statues, flying set pieces, and bright costumes were incredibly well constructed. The backdrops were like watching film. The lighting designers created a moving night sky, complete with passing flocks of birds and light breezes. They were unlike anything I had ever seen before!
The special effects were able to embody the mystery and awe that the movie inspired so many years ago. In "Practically Perfect" Mary and the children unload that famously magical carpet bag of hers. Tall lamps, foliage, and a whole chaise lounge all come out of it. I have no idea how they did it! Mirrors? Trap doors? Probably, but I could not tell you for certain. And I love that! It created so much magic right from the beginning. It didn't lose it's luster either. Tap numbers on the ceiling, dancers walking up the walls in defiance of gravity, and, of course, the flying umbrella were all phenomenally well executed.
The production numbers were just that: Productions! I haven't seen a show with so much energy, color, and flare since the revival of "42nd Street"! The ensemble left me breathless and smiling from ear to ear, as well it should!
The title character, played by Ashley Brown, was also really well done. True, she is no Julie Andrews. But then, who is? She was able to keep the same lovable subtlety that was introduced in the original performance, while still bringing to the stage a new and different character. The portrayal of "Bert" by Gavin Lee was every bit as good (if not better) than what we know from Dick Van Dyke. He was charming, quirky, and gave so much heart to the role.
One other stand out performance came from a character who was not in the Disney film - Miss Andrews. Miss Andrews is the father's childhood nanny who comes to instill the militarian qualities of Order after Mary Poppins leaves. The character isn't around for long, but is exquisitely devilish, singing of punishment by "brimstone, treacle, and cod liver oil". The final showdown between Nanny Andrews and Mary Poppins is by far the best "new" number in the production.
My only complaint would be that the story did have moments in the (too long) first act that seemed to drag a bit. The parents were not bad, but paled in comparison to the other performers. So anytime the scenes were being carried by them I found myself losing focus. It wasn't that they were bad, but they just couldn't keep the pace that the other cast members initiated and miraculously maintained.
You won't get the kind of ground-breaking vision or demanding acting chops that other new shows this season offer (see "Spring Awakening"). What you will get is 2 1/2 hours of Quintessential Broadway: high kicks, glamor, and a feel-good experience to be cherished for a very, very long time.
And I've always asserted that "Mary Poppins" made me gay.
I had that reaffirmed last night when I went to see the new Broadway musical version of the iconic Disney film.
"Mary Poppins" opened on Broadway in November of 2006. Disney and Cameron Macintosh moved their hit musical, "The Lion King", from the New Amsterdam to the Minskoff Theater to accommodate what they anticipating being a smash-hit. Boy, did they hit that one on the head!
This show embodies all of the superfluous elements that theater-goers crave. You get huge awe-inspiring sets, every color in the rainbow in the brightest possible hues, the glitz that reminisces the golden age of Follies, and dazzling special effects that have become commodities in Disney's musical productions.
The set and costume designs were the standout aspects of this production. The dancing statues, flying set pieces, and bright costumes were incredibly well constructed. The backdrops were like watching film. The lighting designers created a moving night sky, complete with passing flocks of birds and light breezes. They were unlike anything I had ever seen before!
The special effects were able to embody the mystery and awe that the movie inspired so many years ago. In "Practically Perfect" Mary and the children unload that famously magical carpet bag of hers. Tall lamps, foliage, and a whole chaise lounge all come out of it. I have no idea how they did it! Mirrors? Trap doors? Probably, but I could not tell you for certain. And I love that! It created so much magic right from the beginning. It didn't lose it's luster either. Tap numbers on the ceiling, dancers walking up the walls in defiance of gravity, and, of course, the flying umbrella were all phenomenally well executed.
The production numbers were just that: Productions! I haven't seen a show with so much energy, color, and flare since the revival of "42nd Street"! The ensemble left me breathless and smiling from ear to ear, as well it should!
The title character, played by Ashley Brown, was also really well done. True, she is no Julie Andrews. But then, who is? She was able to keep the same lovable subtlety that was introduced in the original performance, while still bringing to the stage a new and different character. The portrayal of "Bert" by Gavin Lee was every bit as good (if not better) than what we know from Dick Van Dyke. He was charming, quirky, and gave so much heart to the role.
One other stand out performance came from a character who was not in the Disney film - Miss Andrews. Miss Andrews is the father's childhood nanny who comes to instill the militarian qualities of Order after Mary Poppins leaves. The character isn't around for long, but is exquisitely devilish, singing of punishment by "brimstone, treacle, and cod liver oil". The final showdown between Nanny Andrews and Mary Poppins is by far the best "new" number in the production.
My only complaint would be that the story did have moments in the (too long) first act that seemed to drag a bit. The parents were not bad, but paled in comparison to the other performers. So anytime the scenes were being carried by them I found myself losing focus. It wasn't that they were bad, but they just couldn't keep the pace that the other cast members initiated and miraculously maintained.
You won't get the kind of ground-breaking vision or demanding acting chops that other new shows this season offer (see "Spring Awakening"). What you will get is 2 1/2 hours of Quintessential Broadway: high kicks, glamor, and a feel-good experience to be cherished for a very, very long time.
No comments:
Post a Comment