MARY POPPINS did not open at the Memphis Theater this past weekend. In fact, DISNEY’S MARY POPPINS didn’t open last weekend. nope There was a kick-off for cheers and a lot of hustle and bustle: MARY POPPINS from DISNEY AND Cameron Mackintosh. Yes. That’s the “official title,” and for good reason. Disney and superproducer Cameron Mackintosh (PHANTOM OF THE OPERA, CATS, and LES MISERABLES) are both known for spectacular and over-the-top production values, as well as their take on MARY POPPINS (based on Australian author PL’s 1934 eight-volume series) Travers and the film from 1964) fits well with their “more is more” approach to entertainment. When it premiered on Broadway in 2006, it was nominated for seven Tony Awards and ran for more than six years – a real hit! However, putting the name Disney or Cameron Mackintosh in front of a musical’s title doesn’t guarantee that a non-Broadway production will be any good – especially if it’s being performed by a community theater.
There’s no guarantee of that unless it’s produced by the Theater Memphis’ caretaker – executive producer Debbie Litch. Like a godsend that came down from heaven (without an umbrella) almost 20 years ago, Litch has made Theater Memphis the premier destination for guaranteed quality entertainment in the MidSouth. Make no mistake, Debbie Litch’s staging of DISNEY AND Cameron Mackintosh’s “MARY POPPINS” is supercalifragilisticexpialid awesome!
Being an executive producer in a theater is a gargantuan task and Litch has tackled it with enthusiasm, panache and a wink over the years. Like Poppins himself, Litch appeared at the Memphis theater when it was most needed, pouring delicious spoonfuls of sugar everywhere to help transform this centuries-old community theater into a pristine organization. Not only has she recruited the best directors, actors and designers in town, she has nurtured them and somehow retained them. This production fits well into the Memphis and Litch Theater catalog and represents perhaps the culmination of Litch’s tenure.
As most already know, MARY POPPINS tells the story of a “magical” nanny who suddenly appears to rescue a family of four (two spoiled children, a distant father and a struggling mother) to help them embrace the joys of childhood and appreciate childhood power of imagination. Nominated for 13 Academy Awards, the song burst onto the American scene in the mid-1960s, introducing families to unforgettable tunes like “A Spoonful of Sugar,” “Chim Chim Cher-ee,” and “Let’s Go Fly a Kite.” . While some details of the story may be forgotten, the songs certainly are not.
To be clear: This MARY POPPINS is not for small children. Disney and Mackintosh inflated a two-hour film into a three-hour musical, but it still works for tweens and older folks who have an affinity for the songs, a taste for nostalgia, and/or a taste for masterful theatre.
As befits their talent, Litch has once again enlisted the talented directing/choreographing team of Jordan Nichols and Travis Bradley to direct this gargantuan production, and they deliver like never before. This duo has seemingly got half the town together to put on a show that is sure to blow your mind. No detail is left to chance as Nichols and Bradley ensure everyone involved knows what needs to be done and how to do it in perfect harmony. This show is a “machine” in that it is highly organized, focused and executed with amazing precision. The song “Precision and Order” is undoubtedly an example of this group’s approach.
Choreographically, this could be her best endeavor yet. “Supercalifragilisticexpialidocious” is fun and engaging as the cast spells each letter of the song faster and faster. It’s mighty impressive, and yet it’s somehow crowned by the chimney-sweep-rooster number over the London rooftops (“Step in Time”) in Act Two – a fantastic number in which Mary’s friend Bert literally climbs a wall and dances headlong across the ceiling and down the other side. It’s an impossible feat (or inability?) accomplished on Broadway and underscoring the Memphis Theater’s fearless commitment to holding 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. Each performer is meticulously dressed in early 20th century British clothing that appears to have been made from scratch and measured to perfection. Jason Eschhofen’s sound design blends well with the orchestra and never allows the music to drown out the vocals. Nicole Northington’s lighting maintains the mood of each song, and her wraparound lighting is rich and colorful – especially the deep lavender. (The only criticism might be that the follow-up spots struggled to keep up with the actors’ movements on opening night, which should improve over the course of the run.) Finally, the Jack Netzel-Yates set covers exteriors and interiors in all of London (rooftops, parks, bedrooms and playrooms) with such skill that there is never any doubt as to where we are as the scenes transition. It’s another robust design for Nezel-Yates.
Mary Poppins Ensemble
This could arguably be the strongest cast ever assembled on a Theatrical Memphis stage. Every artist gives 110% and it’s impossible to believe that they all have a regular “day job” singing and dancing, isn’t it? While each deserves high praise, there are a handful of performances that deserve mention:
Calvin Ellis as George Banks, Lauren Duckworth as Winifred Banks,
Braxton Gibson as Michael Banks, Sophia Fleer as Jane Banks
Played by Calvin Ellis (George Banks), Lauren Duckworth (Winifred Banks), Sophia Fleer (Jane Banks) and Braxton Gibson (Michael Banks), the members of the Banks family thoroughly impress as a strict/distant father, worried mother and finally teachable children. They all have an “arc” and are changed at the end, but not before they feature wonderful vocals and impressive choreography.
Tracy Thomas, who portrays both the bird woman and Miss Andrew (George Banks’ fearsome childhood nanny), lulls you into melodic comfort as the bird woman before reappearing in act two as Miss Andrew, singing soprano notes that will make your hair stand on end be left standing (in the best possible way).
Wyatt Pendleton as Neleus
Wyatt Pendleton shines with his ballet moves as the statue of Neleus comes to life. His pirouettes, arabesques and big jetes represent all the beauty this show has to offer.
It’s hard to think of a better cast choice for Mary Poppins herself than Lynden Lewis. Lewis has the singing skills, mannerisms and demeanor of a guardian angel with a wry sense of humor. She carries the show well and embodies a loving mentor that any child would love to have. Her style, elegance and grace almost make you think she really flies.
Russell Lehman as Bert
Finally, Russell Lehman will blow your mind as Bert the Chimney Sweep (another guardian angel in disguise) in a performance that rivals the best ever seen on a Memphis stage. Every movement, every word spoken and every facial expression is exuberant and full of joy. His demeanor is cheerful, positive, and exudes a vigor that will overwhelm you. Born for the role, he delivers an explosive performance that audiences will not soon forget.
It’s almost cruel to recommend attending this incredible show as it’s already sold out for the remainder of the event (although more performances continue) but if possible it’s a ‘must see’. It’s rare for a production (especially a community theater production) to match, let alone outperform, the material, but Theater Memphis has done just that. Yes, the show runs a little longer than necessary and some situations seem artificial, but the cast and crew elevate the viewing experience to such a level that it doesn’t matter at all. As the Memphis Theater wraps up another successful season, it’s clear that DISNEY AND CAMERON MACINTOSH’s “MARY POPPINS” (executive producer Debbie Litch) is practically perfect in every way.
Now until July 2, 2023
Photos by Carla McDonald
