Mary Poppins

Mary Poppins

Disney, Cameron Mackintosh, and Center Theatre Group at the Ahmanson Theatre

Reviewed by Dany Margolies

November 17, 2009

PHOTO CREDIT

Craig Schwartz

This musical is not mere child's play. A tale as well-told as this one seems to have grown up with us. As youngsters reading the original books or seeing the film, we watched two lucky children living in a big house with a magical nanny. Over time, we have recognized the work's pointed commentary on poor parenting and corporate greed in the face of social ills.

The musical hews closely enough to the 1964 film version to satisfy most audiences, but it also resembles P.L. Travers' books, in which La Poppins' job was only to firmly right several ships and not necessarily to act like everyone's perky heroine. The musical's charming book, by Julian Fellowes, puts front and center the children's sad relationship with their father and Mary's efforts to instill a better sense of values in the dysfunctional family, taught in a brisk series of lessons in Act 1 that come to fruition in Act 2. But along with a darker book comes the best part of the film: the songs, by Richard M. Sherman and Robert B. Sherman, seamlessly augmented in style and spirit with others by George Stiles and Anthony Drewe.

The staging is without peer, credited to director Richard Eyre, co-direction and choreography by Matthew Bourne, co-choreography by Geoffrey Garratt, in collaboration with Cameron Mackintosh. Stage magic abounds, from Mary's carpetbag to the literally high-stepping, showstopping "Step in Time," in which Bert dances around the proscenium arch while fellow chimney sweeps bound and hoof across the stage.

As Mary Poppins, Ashley Brown is—we must say it—practically perfect in every way. She is a witty actor, has a silvery singing voice, and possesses what good tap-dancers refer to as "great feet." She is also a generous performer, meshing well with each fellow cast member. Gavin Lee's Bert is incomparable. He is the show's charming host, an energized actor, a great song stylist, and an apparently boneless dancer.

As for the others, the acting style is a little large, but it probably satisfies the balcony seats. And speaking of which, fear not: Mary pays a brief visit up there, courtesy of the lessons Mary apparently taught the show's creators about caring for all. Karl Kenzler earns our respect as Mr. Banks, delightfully comedic as the temporarily unemployed dad. Megan Osterhaus is a sweetly patient Mrs. Banks. Bailey Grey as Jane and Carter Thomas as Michael contribute their nice English accents, with particular attention to punching out the consonants. And as a former nanny, Ellen Harvey makes a memorably operatic villainess.
Yes, this is not child's play. It is appropriate, however for those children able to sit still for three hours.

Presented by Disney, Cameron Mackintosh, and Center Theatre Group at the Ahmanson Theatre, 135 N. Grand Ave., L.A. Nov. 15–Feb. 7, 2010. Tue.–Fri. 8 p.m.; Sat., 2 and 8 p.m.; Sun., 1 and 6:30 p.m. (No public performance Dec. 9. 2 p.m. only Dec. 24 and 6:30 p.m. only Dec. 31. Added 2 p.m. performances Nov. 25, Dec. 23 and 30, and Feb. 3. Dark Nov. 26, Dec. 25, and Jan. 1. Dark Sun., 6:30 p.m., Feb. 7.) (213) 972-4400. www.centertheatregroup.org.