Article:9861; Posted: June 17, 2015 at 8 p.m.; updated June 17, 2015 at 9:50 p.m.

Mary Poppins is an iconic character for generations of people thanks to the longevity of Disney’s 1964 film starring Julie Andrews and Dick Van Dyke. Her unconventional child-rearing methods as well as her joyful and kooky songs are part of our cultural consciousness, and even those of us who haven’t thought of her since our long-ago childhoods likely remember her fondly.

The Barn Theatre returns her to us with elegance and style in the Tony Award winning stage version that opened on Broadway in 2006, and draws largely from the film and adds omitted elements from P.L. Travers’s children’s books. The result is a delightful spectacle, a Magritte painting sprung to life; full of vibrant color and magical surprise, everything, it seems, spontaneously takes flight.

The literal taking flight is thanks to technical director Nick Hoovler’s impressive vision, his crew, and The Barn’s fly system. However, the magical effects truly come about because of the extraordinary ensemble, the cast and crew of about 75 who bring their all to this show.

The visuals in this “Poppins” are striking. Large painted fabric panels swiftly move across the stage for seamless set changes and distinct spaces, from street to rooftop to city park to various interiors. And the constant presence of giant painted trees frame the stage, suggesting the omnipotent magic of the natural world. Shy Iverson’s scenic design is highlighted and made more bold by Andrew Carson’s lights, which, among other pleasant effects, make use of a colorful cyclorama at times speckled with stars. Together, the set and lights beautifully recreate the Edwardian period, as do Carly Heathcoat’s pretty, functional costumes, and Rowan Renstrom-Richards’ Gibson Girl wigs and hair design.

But none of that would mean much without powerful performances, which this show has in spades. Director Dee Sandt made terrific casting choices, and creates a full balanced stage at every turn.

Hannah Eakin, a third-year apprentice at The Barn, fully embodies the true spirit of Mary Poppins with enormous personality, a lively vibrato, an appropriately sing-song speaking voice, and an ease of movement. Eakin captures Poppins’ free spiritedness as well as the darker underbelly of the character that prevents her from being saccharine. Birds speak to her with pleasantries, yes, and she also makes toys come alive to admonish the children for treating them badly in a wonderfully weird and creepy scene.

Eakin always changes the energy in the room when she enters, and of course, this is Mary Poppins’ task: to breathe new life into the troubled Banks family, starting with the two bratty children who run circles around other nannies. Riley Em VanDeVelde as Jane and Daniel Sturdy as Michael, just about hold their own with the other more seasoned actors, who work beautifully with the children.

Other noteworthy performances come from less significant roles, a testament to the actors’ strengths. Penelope Alex plays a fully realized Mrs. Brill who suffers no fools, and LaRon Hudson’s Park Keeper elicits genuine belly laughs.

Perhaps the most impressive stage presence comes from Jamey Grisham, a gorgeous singer and an astoundingly acrobatic dancer, who plays a cheerful and charming Bert, the street sweeper-cum-artist who serves as the perfect counterpoint to Mary Poppins as well as the show’s practically omniscient narrator. Grisham captures Bert’s buoyancy with his physicality as well as his voice, notably his sharp diction, an exceptional feat with a cockney accent. He’s a truly generous performer, especially good with the kids, and manages to come off as simultaneously wise and a big kid.

Grisham is also responsible for the excellent choreography that ranges from classical ballet to vivacious tap as well as clever arm movements to illustrate “Supercalifragilisticexpialidocious” that put the Village People to shame. The dancers are overall spectacular, particularly in the energetic “Step in Time” in which they easily shift from hoofing to fouette turns.

The dancing is complemented by lovely big voices and a powerful seven-piece orchestra. Under Matt Shabala’s musical direction, familiar favorites “Jolly Holiday,” “Spoonful of Sugar,” and “Let’s Go Fly a Kite,” sound wonderful.

Any missteps here are slight. Jackie Gubow’s cartoonish Miss Andrew, though a clear contrast to Mary Poppins, is an unbelievable caricature, partly because Gubow is too young for the part. And while Brooke Evans is a perfectly sympathetic Mrs. Winifred Banks with a sweet voice, the compelling part of her character arc in which she becomes a suffragette was unfortunately cut from the musical.

But these are miniscule disappointments, really, in an otherwise grand show that succeeds in pleasing the joy-seeking child in us all.

SHOW DETAILS:
Mary Poppins
Barn Theatre
13351 West M-96, Augusta
June 16-28, 2015
Evenings Tuesday-Friday at 8:00, Saturdays and Sundays at 8:30 p.m.
Matinees Saturday and Sunday at 5:00 p.m.
$37.00
269.731.4121
www.barntheatreschool.org