Mary Poppins at Orpheum Theatre on 9/4/09
By: Janet Preus
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| Mary Poppins - Publicity photo |
But a solid cast of consummate performers were not to be outdone by theatrical wizardry. They had some tricks of their own, from crystal-shattering high notes to virtually flawless dancing chops. But more, there was an instant rapport with their willing audience, a relationship that flowered so quickly and beautifully that one could almost see an aura for Mary Poppins to float in above our heads.
Ashley Brown, who originated the title role on Broadway where she made her debut as Belle in “Beauty and the Beast,” delivered the irresistibly enigmatic character with flawless nuance. Her counterpart, Bert, played by Gavin Lee, who also originated the Broadway role, was equally charismatic. To say that Lee is skilled is a ridiculous understatement. In the musical theater world, he’s a rock star with an appeal that trumps Nathan Lane hands down.
The roles of the Banks children (which are doubled and unfortunately last night’s actors were not specified) were blessedly not played over-the-top. They were simply believable children – at turns obnoxious and then delightful. I mention them, rather than a dozen or more other supporting performances, because it is rare that children truly fit into a stage family.
This was very much an ensemble show, and among the many smashing production numbers, “Supercalifragilisticexpialidocious” deserves special mention for choreography so clever that it was laugh-out-loud funny. Think “YMCA” taken to another dimension entirely.
In fact, the type of militaristic precision that characterized this production held its own sort of fascination. I doubt that a single eyebrow was raised that was not directed. It wasn’t just the dancing, which should be perfect – and it was as close as I’ve ever seen –the acting had this angular, sharp sort of precision to it, too, like drawn cartoon characters moving with almost imperceptible stops and starts through each scene. It was a bit odd, and if I were to see it again I know I’d be scrutinizing this approach.
The original Broadway production might have swept the Tony Awards, given its satchel full of nominations. It won, however, only for set design (Bob Crowley, who also won the Drama Desk award). Gavin Lee also won the Drama Desk best actor honors in 2007. It didn’t win more, I think, because it was directed within an inch of its life – necessitated, I suppose at least in part, by the massively complicated major set piece – a three-story house that opened and closed like a giant, magical dollhouse. But these awards can be political, too.
Only one other caveat in my otherwise glowing recommendation. Once again, I have to whine about the sound. I cannot figure out for the life of me why theater sound designers and engineers have such an aversion to mid- and low-range frequencies. Why do we have to make these glorious voices sound like squeezed mice in an old AM radio, minus the static? I continue my campaign for a rounder, richer, fuller, more natural sounding mix for the singers and our sakes, and when I hear it, you will all know about it.
Your small children, however, will not care a hoot. Scrape up the cash and give them a treat that will likely become a lifetime memory.
Location Info:
Orpheum Theatre
Artist Info: Disney & Cameron Mackintosh
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