Article: 9575; Posted: April 13, 2015 at 9:00 A.m.

“Ambitious.” That is the word that comes to mind when seeing The Riverbank Theater’s new production of Mary Poppins. But even when all the ambition and production value doesn’t quite make it over the fence, it never stops delighting the audience, especially the kids and grandkids in attendance.

Twenty-three scene changes and rolling scenery comes on and off the stage some fourteen times. There are more than a half-dozen different rear-projected scenery changes, some making multiple appearances. And yes, both Mary Poppins and Burt fly across the stage. It is a feat of the cast and production staff at the intimate Riverbank space to make it all work.

All that said, there are times when one wishes director Brittany Everitt Smith had opted for some simpler direction and set design. All those changes done in dimmed lights with stage hands scarcely getting off the stage before the next scene starts slow the pace, especially of Act 1. As the lights dimmed for the umpteenth set change, mutterings of “what? again?” could be heard by a few adults in the seats.

Everyone knows the plot. An upper class household in London can’t keep a nanny for the two demanding children. The newest nanny, though, Mary Poppins, is a different governess all together, with certain fanciful powers and charms.

The cast works hard to deliver the magic and delight of Poppins. Katie Kujala carries the title role with lovely, pitch-perfect vocals. Kujala also nails perhaps the most important aspect of playing Mary Poppins; the ability to make you believe she owns any room she is in and can change people’s outlook on their lives.

Surrounding her are some solid pro performers who anchor the cast as Mary occasionally takes flight: Julia Burgess as Mrs.Brill, the Banks cook and housekeeper; and Christy Kreidler as a deliciously caustic and foreboding Miss Andrew, and an equally lovely old Bird Woman. Ty Evenson delivers a smooth and appropriately uptight George Banks, while also giving a steady vocal performance.

Aaron Dennis Smith, a fixture at Riverbank and Snug Theatre, plays Bert with a happy, charming, friendly vocal and stage presence. His chemistry with Kujala’s Poppins works just fine, though here and there his cockney accent drifted in and out.

There is so much going on in the production that audience members end up almost rooting for its success. At one point, we aren’t sure if Bert is going to make it all the way across the stage on the wire as he dances over rooftops and has to disappear down a chimney. It was a close call.

The stage flying in Riverbank’s small space is commendable, but perhaps a short curtain should have been placed in front of the pulley gear. With it all exposed, it takes away a bit from the illusion.

One scene in which Poppins descends onto stage, she remains hooked to the wire at the collar for a few minutes until she exits stage right. Not sure if someone missed a stage-move to unhook her, but you get the idea. It’s a little ragged here and there, but lovable nonetheless. The audience didn’t seem to mind, so why should we?

The two children among the principal cast—Ben Adair as Michael Banks and Emerson Lang as Jane Banks—deserve singling out. Adair showed real poise, even when he did not have lines, the sign of a good young actor on the rise. Lang, a third-grader in her first stage role, holds her own just fine and should keep working at the craft.

The use of rear-projection to change scenery is happening more and more. It works better in some scenes here than others. It had great effect during “Let’s Go Fly A Kite” and “Supercalafragilisticexpialidocious.” But the use of it to project the interior of the bank and cathedral steps not so much. Images that are of literal locations tend to get blurred when projected so large, and the effect is not what is desirable.

A seven-piece orchestra in the balcony “pit” performed well, and makes all the difference between this production and those that resort to pre-recorded music.

The use face mics here is debatable. Surely, most of the players could have projected to the back rows of the intimate Riverbank. The children might have been the exception. At times, it sounds as if the players are singing from inside of a barrel.

The use of mics is becoming the norm even in small spaces. The argument is often made that it is for the benefit of the senior citizens who make up a good portion of patrons at many regional theaters. But this reviewer misses the pure sound of players who know how to project naturally.

The whole of this “Mary Poppins” is delightful, clever and joyful thanks to a very hard working company that committed to making some magic. Take the kids before it closes.

SHOW DETAILS:
Mary Poppins
Riverbank Theatre
358 S. Water Street, Marine City
April 10-26, 2015; Thursday, Friday and Saturday evenings at 7:00 p.m., Saturday and Sunday matinees at 3:00 p.m.
Price: $26.00
(810) 278-1749
www.riverbanktheatre.com