MARY POPPINS didn’t open this past weekend at Theatre Memphis. In fact, DISNEY’S MARY POPPINS didn’t open this past weekend. Nope. What opened to cheers and much hoopla was DISNEY AND Cameron Mackintosh’S MARY POPPINS. Yep. That’s the “official title” and for good reason. Disney and uber producer Cameron Mackintosh (THE PHANTOM OF THE OPERA, CATS and LES MISERABLES) are both known for spectacle and over-the-top production values and their rendition of MARY POPPINS (based on the 1934 eight-book series by Australian author P.L. Travers and the 1964 film) fits nicely into their “more is more” approach to entertainment. When it opened on Broadway in 2006, it was nominated for seven Tony Awards and ran more than six years--a bona fide hit! However, slapping the name Disney or Cameron Mackintosh before the title of a musical is no guarantee that a non-Broadway production is going to be any good--especially when done by a community theatre.
There’s no guarantee that is, unless it’s being produced by Theatre Memphis’ own caretaker--Executive Producer, Debbie Litch. Like a gift from heaven descending from the sky (sans the umbrella) almost 20 years ago, Litch has turned Theatre Memphis into the premiere destination for guaranteed quality entertainment in the Mid-South area. Make no mistake about it, Debbie Litch’s production of DISNEY AND Cameron Mackintosh’S MARY POPPINS is supercalifragilisticexpialidociously superb!
Being an Executive Producer of a theatre is a gargantuan task and Litch has done it over the years with gusto, pizzazz, and a twinkle in her eye. Like Poppins herself, Litch showed up to Theatre Memphis when it was needed most to pour tasty spoonfuls of sugar all around to help turn this century-old community theatre into a pristine organization. She’s not only recruited the best directors, performers, and designers in town, she’s also cultivated and somehow retained them. This production fits nicely into Theatre Memphis' and Litch’s catalog and represents perhaps the peak of Litch's tenure.
As already known by most, MARY POPPINS tells the tale of a “magical” nanny who suddenly appears to rescue a struggling family of four (two spoiled children, one distant father and a floundering mother) to help them appreciate the joys of childhood and the power of imagination. Nominated for 13 Academy Awards, it broke broadly onto the American scene in the mid-1960’s and introduced families to such memorable tunes as “A Spoonful of Sugar,” “Chim Chim Cher-ee,” and “Let’s Go Fly a Kite.” While some details of the story may be forgettable, the songs certainly are not.
To be clear, this MARY POPPINS is not for small children. Disney and Mackintosh took a 2-hour movie and bloated it up to a 3-hour musical, but it still works for tweens and up who have an affinity for the songs, a taste for nostalgia and/or a penchant for masterful theatre.
As is her gift, Litch has again recruited the gifted directing/choreographing team of Jordan Nichols and Travis Bradley to stage this behemoth production, and they deliver like never before. This duo has assembled what seems like half the city to come together to put on a show that is sure to sweep you away. No detail is left to chance as Nichols and Bradley ensure that everyone involved knows what to do and how to do it in perfect harmony. This show is a “machine” in that it’s highly organized, focus and executes with amazing precision. The tune "Precision and Order" exemplifies this group's approach, for sure.
Choreographically, this may be their best endeavor yet. “Supercalifragilisticexpialidocious” is fun and tight as the cast physically spells out every letter of the song at an ever-increasing rate. It’s mighty impressive and yet is still somehow topped by Act II’s chimney sweep tap number on the rooftops of London (“Step in Time”)--a fantastic number in which Mary’s friend Bert literally walks up a wall, dances upside down across the ceiling and back down the other side. It’s an impossible feat (or feet?) that was done on Broadway and underscores the fearless commitment Theatre Memphis has to hold nothing back. You can’t help but cheer.
Technically, this show is solid-in design and detail. Amie Eoff’s costumes have never been better. Every performer is meticulously dressed in early 20th-Century British attire that looks built from scratch and measured to perfection. Jason Eschhofen’s sound design blends nicely with the orchestra and never allows the music to drown out the vocals. Nicole Northington’s lighting maintains the mood of every song and her cyclorama lighting is rich and colorful--especially the deep lavender. (The only complaint might be the follow spots struggled to keep up with the movements of the actors on opening night, which should improve over the course of the run). Finally, Jack Netzel-Yates set covers exteriors and interiors all over London (rooftops, parks, bedrooms, and playrooms) with such skill that there’s never a doubt where we are as the scenes transition. It’s another robust design for Nezel-Yates.
Arguably, this might be the strongest cast ever assembled on a Theatre Memphis stage. Each performer gives 110% and it’s impossible to think they all have regular “day” jobs and singing and dancing isn't it. While everyone deserves enormous praise, there are a handful of performances which demand mention:
Braxton Gibson as Michael Banks, Sophia Fleer as Jane Banks
The members of the Banks family played by Calvin Ellis (George Banks), Lauren Duckworth (Winifred Banks), Sophia Fleer (Jane Banks) and Braxton Gibson (Michael Banks) are entirely convincing as a stern/distant father, concerned mother and eventually teachable children. They all have an “arc” and are changed in the end, but not before showing off wonderful singing voices and impressive choreography.
Tracy Thomas, doubling as the Bird Woman and Miss Andrew (George Banks’ terrifying childhood nanny) lulls you into melodic comfort as the Bird Woman before reemerging in Act II as Miss Andrew and belting soprano notes that will make your hair stand on end (in the best way possible).
Wyatt Pendleton shines in his balletic moves as the statue-come-to-life, Neleus. His pirouettes, arabesques and grand jetes represent all the beauty this show has to offer.
It’s hard to imagine a better casting choice for Mary Poppins herself than Lynden Lewis. Lewis has the singing chops, mannerisms, and demeanor of a guardian angel with a wry sense of humor. She carries the show nicely and personifies a loving mentor any child would be lucky to have. Her style, elegance and grace will almost make you believe she’s flying for real.
Finally, in a performance which may rival the best ever seen on a Memphis stage, Russell Lehman as Bert, the chimney sweep (another guardian angel in disguise) will blow you away. Every movement, spoken word and facial expression is exuberant and full of joy. His performance is upbeat, positive and exudes a life force that will wash over you. He was born to play this role and gives a dynamite performance that audiences won’t soon forget.
It's almost cruel to recommend seeing this incredible show since it’s already sold out for the remainder of the run (even as they continue to add more performances), but it’s a “must-see,” if you can. It’s rare for any production (especially a community theatre production) to match the material, let alone exceed it, but that’s what Theatre Memphis has done. Yes, the show runs a bit longer than might be necessary and some of the situations feel contrived, but the cast and crew elevate the viewing experience to such heights it won’t matter a tuppence. As Theatre Memphis wraps up another successful season, it’s crystal clear that (Executive Producer Debbie Litch’s) DISNEY AND CAMERON MACINTOSH’S MARY POPPINS is practically perfect in every way.
Now through July 2, 2023
Photos by Carla McDonald
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