In Highlands Ranch, the classic tale is brought to the stage in a stirring production

It’s a treat when a play or musical has so much enthusiasm that everyone on stage and in the audience bursts with pride and joy. That’s the case with Wesley Players’ Mary Poppins, staged at the St. Luke’s church in Highlands Ranch. Smart choices and clever ideas from artistic director Roberta Hamilton-Griggs and stage director Rebekah Ortiz make this musical a winner that could easily compete with much bigger theatre companies.

Mary Poppins is the beloved story of a magical nanny who watches after children and, in the process, fixes family issues. She travels in on the winds in this case to help the Banks family where their banker father has become cheerless, the mother is hemmed in by society and the children need a little extra support.

Elise Collins’ performance as Mary Poppins was fantastic. Many actors playing the role typically choose feigned severity (as Julie Andrews did). Not Collins. Her Mary is full of whimsy, romping through the scenes as if playing a game. The only time she seems cross is when the children misunderstand their father and mistreat their toys. It’s an approach to the part that works, making for a fresh take. Hitting all the right notes, Collins lyrical soprano voice soars. Acting community – take note of Collins.

Bert (Nick Shryack) here is more sweet and less of a scamp than Dick Van Dyke was in the 1964 film. It’s endearing to watch when Mary gives him a peck on the cheek; his eyes bug out and his jaw goes slack with surprise.

Just about everyone else in the production is solid, including the young actors who portray the Banks children – Jane (Hazel Hanson, just 10 years oldl) and Michael (Lochlann Shryack). Shryack was especially likable as a nice boy with a hint of mischief. Jenn McMahan as Mrs. Banks goes beyond “the mom” role with nuance. McMahan understands the character’s struggle – an amiable woman forced to bend to societal conventions; she’s unable to work as an actress or be a stay-at-home mother as she wants.

The dance numbers are high-energy without being fussy or overly complex. “Supercalifragilisticexpialidocious” uses easy-to-perform hand gestures that are enchanting to watch. “Step in Time” introduces brooms, cartwheels, tap dancing, high kicks and dancing in the aisles.

The set design is sophisticated without being cumbersome. (Kudos to Chris Lucia and the team.) Triangular columns spin to help set the scene, displaying the park, bank and the Banks home. A screen upstage assists the audience with projections such as the house, the park and the sky. Another highlight is during “Fly a Kite,” when actors appear in aisles holding kites attached to sticks as the lights shone down as if it were late afternoon.

The costume design by Julie Snow and Lily VanBeak is also remarkable. Togas for statues looked thick and gray just as a Greek or Roman stone figure. Their solutions for the Victorian era clothing are also spot-on. Clothes give the appearance of the era – staying true to basic designs, such as women’s puffy blouses – while embracing rich colors to set characters apart.

The community watching the play isn’t always mentioned, but in this case, it should be! In this play, the audience seems more like a community of family than an audience of strangers. Cheers and applause broke during and after every song, adding to the frivolity. They’re performing at a church, so if ever there was a place for an arts and community, this is it.

The orchestra was the only part of the production that needed work. These volunteer players had challenges with the score, occasionally covering up amazing onstage voices.

It’s not often that Highlands Ranch has full-blown musicals being staged, and this production of Mary Poppins is truly a labor of love for the cast and crew as well as the community.