Give 5 Productions and Parker Arts serve up a true family treat on stage

Parker Arts, Give 5 Productions and director Shannan Steele provide two-and-half-hours of family friendly fun with Disney and Cameron Mackintosh’s Broadway musical Mary Poppins. It’s the beloved story of a magical nanny who watches after children and, in the process, fixes family issues.

Like the movie (Mary Poppins) with Julie Andrews (Mary Poppins) and Dick Van Dyke (Bert – the chimney sweep), the Broadway production showcases all the same songs we know and love. The Broadway production has a few extra songs that almost feel like they were in the movie, such as “Anything Can Happen.” Also like the movie, there is a lot of dancing.

What’s challenging about the musical is bringing this fantasy world, under a nanny’s spell, to life. The movie used animation; the musical at Parker has bright costumes, some wiring and stage trickery in set design, a harness to help Mary Poppins fly, fast-moving dancing, and solid acting.

(L-R) Sofie Preece, Ethan Hershman, Keenan Gluck and Clark Destin Jones in ‘Mary Poppins.’ | Photo: RDGPhotography

Memorable performances

Madison Falkenstine, as Mary Poppins, is practically perfect in every way (as Mary Poppins says about herself). Her voice effortlessly flutters through songs. She understands the character of Poppins, depicting a seemingly austere nanny yet oozing with whimsy and care for the world. With such poise and pitch, I can’t wait to see Falkenstine (a Metropolitan State University alumnae) in other Colorado productions.

As Bert, Clark Destin Jones charms. A great dancer and decent singer, he shines between set changes by breaking the fourth wall – juggling, telling jokes and balancing brooms. Jones’s entertainment is a clever distraction, as the sets require a few minutes to get into place.

Also worth noting: Jones was upside down singing the last of “Step in Time.” Amazing!

Most pleasantly surprising is how good the two children are. Sofie Preece (Jane Banks) and Ethan Hershman (Michael Banks) bring excitement to the stage. These two hold their own among this cast. Pierce has a golden voice and Hershman is especially engaging – a sweet boy with a hint of mischief. According to the program, two other children also play Jane and Michael Banks on other nights. If Marion Cafe and Caleb Brummel are like their counterparts, I’m sure they are delightful.

In this production, Jeremy Rill excels as Banks. Even as a cheerless banker, he brings zest to the role, giving glimpses of the real Banks during the stodgiest moments. His voice is velvet, and I’m looking forward to seeing him in a Gentleman’s Guide to Love and Murder at the Arvada Center this spring.

Heather McClain is powerful as Miss Andrew, the villainous nanny who raised George Banks. The role is comically evil, so it’s expected she’ll depart when upstaged by Mary Poppins. Yet, in this production, I’m not certain Mary Poppins upstages her despite Ms. Falkenstine’s exceptional talent. Their vocal duel – opera style – should end with McClain “taking a dive” (purposefully losing the soprano duel) for this production. After all, the audience is rooting for Mary, not Miss Andrew.

Brionne Aigné stands out as Bird Lady. As with Rill, I wanted more of her. “Feed the Birds” is proof that small parts can go big.

Although those are the performance highlights, every performance was similarly marvelous, delivering more than expected. Special kudos to everyone working the fly system (and being attached to it – Jeff Rusnak) and for believable British accents (the cast and dialect coach Jeffrey Parker).

(L-R) Sofie Preece, Madison Falkenstine and Ethan Hershman in ‘Mary Poppins’ at the PACE Center. | Photo: RDGPhotography

Sweeping choreography

The choreography under Christie Zimmerman is fun and frenzied, adding to the production’s quick pace. The actors tap-dance, kick, cartwheel and flip through songs. “Step in Time” is a highlight. This number is toward the musical’s end with huge dance moves. The cast seems to be having fun, too – bursting with energy, despite being deep into Act II – as they whirl across the stage.

Only during “Supercalifragilisticexpialidocious” does the choreography appear clunky, most likely inspired by the original Broadway version. The actors are occasionally out of step with the elaborate hand gestures, as if the choreography is unnecessarily cumbersome.

Big sets and bewitching costumes

Mary Poppins has quite a few set changes, which sometimes disrupt the pace. Despite being impressed seeing shelves right themselves and pillows fluff on command, one of the best scenes (“Step in Time”) only uses the backdrop of a rooftop and a few light poles. Sometimes, less is more.

In “Jolly Holiday,” the costumes seem like part of the set design, standing out on a more barren stage. These costumes successfully transport us to a make-believe world where everyone dons fluorescent attire (ditching their drab Victorian-style wear). “Super …” has the same exciting costuming and nearly empty stage. Yet again, we’re transported to Mary Poppin’s world of pretend

The costumes stood out in the best ways. The choices were reminiscent of the movie – paying homage – without stealing. Nicole Harrison’s creations enable actors to move and look spellbinding without limiting movement. It’s a feat as there’s a dance every few minutes!

Despite a few hiccups, most everything goes splendidly, as it did for Mary Poppins. The cast and crew successfully bring fantasy to life, ensuring kids of all ages will be entranced by Mary Poppins.