1st National Tour Boston Opera House 8-17-13 (matinee) Providence Performing Arts Center 12-29-13 (matinee), 1-4-14 (matinee), 1-7-14
Today, the First National Tour of Wicked will once again vacate the Providence Performing Arts Center, moving on to another American city. Celebrating its 10th anniversary in October, Wicked has become a familiar old friend to many theatre-goers who have seen the show multiple times... some in the double digits.... some reaching the TRIPLE digits (now that’s dedication). I, myself, just hit #14-- one Broadway performance and 13 National Tour performances in Boston, Providence, Philadelphia, and Hartford. For a while, Wicked followed me around the United States as I moved from New England to Philadelphia and then back to New England, and so it’s been quite easy to catch a performance at least once or twice per year. As I said, Wicked is like an old familiar friend, one that offers a simple but beautiful message, while simultaneously blowing the audience away with its electrifying score and breathtaking special effects. Wicked is, indeed, something special.
If you follow my blog, you are very likely to have seen Wicked at some point, and so I doubt that a long synopsis is warranted. Suffice it to say, Wicked is described as “the untold story of the witches of Oz. Long before Dorothy drops in, two other girls meet in the land of Oz. One, born with emerald-green skin, is smart, fiery and misunderstood. The other is beautiful, ambitious and very popular. Wicked tells the story of their remarkable odyssey, how these two unlikely friends grow to become the Wicked Witch of the West and Glinda the Good” (retrieved from http://www.wickedthemusical.com/the-show). I would add that its Ozian origins may attract an audience, but Wicked is truly its own story, and a much, MUCH better story than The Wizard of Oz.
The purpose of this blog is not to review Wicked. I really don’t need to do that. Wicked has not only established its place in modern day musical theatre, but has also raised the bar for other new musicals during the last ten years, and that speaks louder than anything I could write. Instead, I would like to share some of the things I enjoyed about this particular cast.
GINA BECK AS G(A)LINDA Gina Beck comes from the West End production on Wicked, where she played Galinda for two years. We should all welcome her to the U.S. because she was a fantastic Galinda!
1.) I love her accent. Obviously, she is from the U.K., but she spoke with an American accent that suggested the slightest hint of British. The accent was perfect for Galinda- it made the character seem less childish and truly from the “Upper Uplands.”
2.) I’ve seen many actresses emphasize the childish, egotistical side of Galinda, and sure, watching her act like an airhead or a dumb blonde is perfectly funny, but sometimes I miss the depth. Of all the Galindas I’ve seen, Gina was the most balanced. By balanced, I mean that she was the perfect amount of childishness, self-absorption, and ignorance, which was perfectly balanced with insight, sincerity, and kindness. She didn’t overplay the ditziness (thank goodness). It never seemed that she was trying too hard to give an over-the-top performance; rather, she embodied the character naturally. She was also one of the strongest Galindas vocally that I’ve heard to date.
ALISON LUFF AS ELPHABA This was my first time seeing Alison Luff perform, and she has certainly joined the ranks of the preceding Elphabas that I’ve been fortunate to see. Her Elphaba was young, vulnerable, and sweet.
1.) What really stood out about her performance were her scenes with Galinda. The chemistry between the two witches just seemed more apparent with these two actresses. I enjoyed “For Good” more than I typically do. Actually, I felt like I was hearing the song for the first time (again).
LAUREL HARRIS AS ELPHABA (standby)
Oh no, that dreaded piece of paper just fell out of your playbill! Have no fear. Laurel Harris will not disappoint you, not even one bit. Between Boston and Providence, I saw Laurel twice as Elphaba and Alison twice as Elphaba. Both were fantastic. So have no fear.
1.) I think Laurel is one of those Elphabas who makes it look really easy. Being on stage for three hours, singing songs like “The Wizard and I”, “Defying Gravity”, and “No Good Deed” surely cannot be easy, yet everything about her performance was done with ease.
2.) Great belter. I wish I’d seen her as Eva Peron on Broadway.
JOHN DAVIDSON AS THE WIZARD
1.) Best Wizard I’ve ever seen, hands down. Confession: I usually view the Wizard as a character that exists solely to propel the plot forward, not as a comedic role. I don’t know exactly what made this Wizard different from the others. His comedic timing? His mannerisms? I have no idea. But, he was SO FUNNY. I loved his scenes. And for the first time, I actually felt sorry for the Wizard when (SPOILER) he finds out that Elphaba was his daughter.
ALISON FRASER AS MADAME MORRIBLE
1.) Again, she is another cast member that seemed to breathe some new life into a character that’s been portrayed by many before her. She portrayed Morrible as younger and a bit more quirky and eccentric… yet kind of endearing? She may be a villain, but I didn't hate her this time!
So there you have it! Thanks for reading! Oz speed.
It’s December 4, 1956. For the first and only time, four future legends congregate at Sun Record Studios in Memphis, TN for a spur-of-the-moment, unrehearsed jam session under the guidance of Sun Records owner, Sam Phillips, who discovered each member of this “million dollar quartet”- Elvis Presley, Jerry Lee Lewis, Johnny Cash, and Carl Perkins. Million Dollar Quartet is the musical reenactment of this special night in rock ‘n’ roll history.
Comments: Million Dollar Quartet is like time-traveling backwards to a 1950’s rock concert. A real audience-pleaser, many of the singers’ most well-known songs are showcased such as “Blue Suede Shoes”, “Folsom Prison Blues”, “That’s All Right”, “I Walk the Line”, “Hound Dog”, and “Great Balls of Fire”. I particularly liked the gospel tunes, “Down By the Riverside” and “Peace in the Valley”, which were sung in perfect harmony.
Elvis Presley was played by Billy Woodward, and his performance was inspired by a young Elvis early in his career that went beyond doing a mere “Elvis impression”. David Elkins captured the vocal quality and speech inflection of Mr. Johnny Cash very well, and his singing was probably the closest to the “real thing”. Lesser known is Carl Perkins, played by James Barry, who I felt had the most depth of all the singers. Finally, show stealer Benjamin Goddard killed it as the crazy, piano-thumping Jerry Lee Lewis. Bravo.
Vince Nappo portrayed Sam Phillips and although he didn’t do much singing, he was very effective as the tie that brought the million dollar quartet together. The addition of a female character named Dyanne (Elvis’ girlfriend), played by Kelly Lamont, balanced the show musically.
This musical is not solely a “concert”; several minor story-lines are incorporated into the performance that explain each singer’s career struggles/triumphs at that time.
Million Dollar Quartet is appealing to all generations and reminiscent of a great period in music history. If you want an enjoyable night at the theatre, check out the national tour here.
Last Tuesday evening, I saw the opening performance of Jekyll & Hyde at the Providence Performing Arts Center. The production is currently on a 25-city national tour that will conclude with a Broadway revival at the Richard Rodgers Theatre in April. Based on the novella, Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson, the original production ran on Broadway from 1997 to 2001. Music was written by Frank Wildhorn, lyrics by Wildhorn, Steve Cuden, and Leslie Bricusse, and book by Bricusse.
Synopsis: Jekyll & Hyde is the story of the brilliant, but obsessive, Dr. Henry Jekyll, who longs to understand why man is both good and evil in order to help his institutionalized father. He proposes to test his theory on a human subject, but to Jekyll’s dismay, his proposal is rejected by the Board of Governors and he is called a “madman”. With the faith and support of his fiance, Emma Carew, Jekyll decides to conduct his experiment on himself. Injecting himself with a potion, he is taken over by his evil personality, a character called Edward Hyde, who goes on a malicious killing spree. And so begins the struggle between the two personalities, or rather, the struggle between good and evil. In the end, Jekyll finally realizes that there is no way to control Hyde, and the only way to prevent further harm is to kill himself.
Comments: The role of Jekyll/Hyde was played by Constantine Maroulis. Maroulis proves that his talents go far beyond the world of “American Idol”, if he hadn’t already proven that during his Tony-nominated performance in Rock of Ages. He has a soaring tenor voice that is well-suited for this pop-rock score. He alternates from the thoughtful, reserved Jekyll to the vile, maleficent Hyde with ease and clarity. He is very well-cast in this role.
As Lucy, Deborah Cox is given some of the best songs in Wildhorn’s score; “Bring on the Men”, “Sympathy, Tenderness”, “Someone Like You”, and “In His Eyes”, a duet with Emma, and I thought she did these songs justice. She has a strong belt and her voice has a modern sound rather than the traditional Broadway belt, but this seemed to work for the role. Her singing was one of the most enjoyable things about the show. Her acting was solid and I really enjoyed her scenes with Jekyll.
Teal Wicks played Emma Carew, and she was outstanding. On Broadway, she was most recently seen in Wicked as Elphaba, and it was delightful to see her portray another strong, yet completely different type of character. Her singing voice is beautiful, as she alternates between belt and soprano. “In His Eyes”, a duet between Emma and Lucy, is one of the highlights of the show.
I thought that Frank Wildhorn’s score was very good with several memorable songs. The score has an early 90’s, pop-rock feel to it, which was amplified by Deborah Cox’s modern R&B voice. Constantine sang the heck out of “This is the Moment”, which was a huge audience-pleaser!
My only complaint is that I couldn’t understand most of Constantine’s lyrics, but I think this is related to poor acoustics at PPAC and not his performance.
I also have to mention the awesome projections of Hyde lurking on the stage during intermission. Very spooky.
Finally, the show is thought-provoking, and you may find yourself thinking about good and evil in humanity just like Jekyll. Just don’t try mixing up any potions or you might end up like him! (Just kidding)
The “fantastical” new musical, Memphis, arrived at the Providence Performing Arts Center on December 4th! Memphis deservingly won the Tony Award for Best New Musical in 2010 and also earned Joe DiPietro and David Bryan of Bon Jovi a Tony Award for their impressive rock & roll score.
Synopsis: Memphis tells the story of Huey Calhoun, the first white radio DJ to play black music in 1950’s Memphis, and the talented black nightclub singer, Felicia Farrell. Huey is drawn to “the music of [his] soul”, sung by Felicia at an underground African-American bar, owned by Felicia’s brother, Delray. A promise to get Felicia on the radio, smack dab in the middle of the radio dial, is the beginning of their love story, set against the raging prejudice of the South. After overcoming many obstacles, Huey finally brings Felicia’s voice to the radio, and the music is embraced by the young people of Memphis, but not without cost. Sorry, no spoilers.
Comments: Memphis is the perfect compilation of all the elements of a successful Broadway show. There is no weak link. Memphis boasts powerful vocals, impeccable choreography, smart comedy, rocking music, lovable characters, and an honest and heartwarming story, which culminates in a very satisfying evening of theatre.
It is my belief that Huey Calhoun is one of the most beloved characters to ever grace a Broadway stage, and it requires a special actor to play the part. Bryan Fenkart is one such special actor. As Huey, he nails the physical comedy and encompasses all that is unique, quirky, truthful, and endearing in this beloved character. I saw Bryan Fenkart as Huey (u/s) on Broadway in 2010 and his performance has only improved, if that’s even possible. Bravo. Or should I say, HOCKADOO!
No voice has ever filled the Providence Performing Arts Center like Felicia Boswell’s did on Tuesday night. She is a vocal powerhouse, who gives a fierce, superbly acted performance as nightclub singer, Felicia Farrell. Bravo.
The supporting cast made the very most of their time in the spotlight. The character of Gator may be quiet, but Rhett George’s indelible cry for hope in the final Act I number, “Say A Prayer” is more than memorable. Likewise, as Mama, Julie Johnson’s performance of “Change Don’t Come Easy” was completely over the top and I loved every minute of it! This rousing number was a show highlight! Will Mann’s Bobby gave the audience an unexpected treat with “Big Love”, and Horace V. Rogers brought down the house with the powerful, “She’s My Sister”.
In my experience, a touring show sometimes loses something during the translation from Broadway to National Tour. This is the first touring show I’ve seen in a long time that strengthened as a National Tour. The former Broadway and National Tour casts are so phenomenally talented in their own right, that they can both be enjoyed for what they bring to this spectacular show without comparisons.
And if I haven’t persuaded you to see this show yet, let me mention Huey’s costumes. Words cannot describe. You’ll just have to go check them out yourself. Hockadoo.
The Verdict: A must-see. See it at PPAC before December 9th. Or catch it in Boston before December 23rd.
Check out the Broadway cast's performance at the Tony Awards below.
Based on the experience of a one-time live tweeter
About a month ago, I was winding down from my work day when I received a text from a friend. She asked me if I would do a last minute favor and live tweet during the performance of Catch Me If You Can at the Providence Performing Arts Center (PPAC) that evening. She was in charge of retaining ten “live tweeters” for this performance, but it seemed that theatre-goers were not interested in this new venture, and she had gotten zero responses. Four hours before curtain, she was issuing a last-minute plea to her theatre-going friends via text messages.
As a theatre-lover, I figured live tweeting would be an interesting experience, and so I agreed. I picked up my complimentary ticket and was told to “keep my phone low”. I found my seat labeled as a “tweet seat” in the very last row of center orchestra. As other theatre patrons entered the theatre, many noticed the “tweet seat” signs posted in my row, and a few asked me what a “tweet seat” was. I explained and they seemed disinterested. Two elderly ladies walked by and one said to the other, “Tweet seat? What the hell is that”? and proceeded to give me a dirty look before making her way down the aisle. Fabulous.
The Cons of Live Tweeting
1.) It’s distracting to the tweeter and takes away from his or her theatre experience. I don’t care if you can type 200 words per minute into your iPhone- the act of typing and tweeting takes your attention away from what’s happening on stage. Before you know it, you’ve missed a good joke or a critical moment in the story line that leaves you momentarily lost. And when you’re not tweeting, you’re thinking up your next tweet. I saw Catch Me If You Can twice on Broadway and knew the story line very well, but I did not enjoy this performance because it was constantly interrupted by the need to tweet. Tweeting really does ruin the theatre experience for the tweeter. I guess I’d rather just sit back and enjoy the show.
2.) Cell phone lights are difficult to hide. We were told to keep our cell phones low to avoid disturbing other theatre patrons. Some of the other tweeters dimmed their screens as well. Just because we were seated in the last row of the orchestra did not mean that there were no theatre patrons around us. There were people seated across the aisle directly to my left and I’m sure they could see the lights in their peripheral vision. I felt very badly for them. I also felt guilty because I usually take theatre etiquette pretty seriously. There’s nothing worse than the glare of a cell phone in a dark theatre (well, except for a cell phone going off or an unruly theatre patron...). Theaters will have to be creative and careful in the way that they seat tweeters in the future or paying customers will be complaining. (I can only speak for PPAC on this note; I do not know how other theaters seat their tweeters).
3.) My followers were not engaged. During this two and a half hour show, I tweeted about 42 times. My tweets were also posted to my (Broadway) blog’s Facebook page. A few followers commented on the posts, but I honestly did not feel that people were all that interested! This could be because a) I wasn’t tweeting in a way that interested people or b) I was tweeting about a show that is not currently running on Broadway and many of my followers are tied to NYC theatre. Who knows?! But live tweeting elicited very little interaction from my followers, which was disappointing for me.
The Pros of Live Tweeting
1.) Supporters of “Tweet Seats” will argue that the theatre experience is “enhanced” by tweeting because you are given the opportunity to share and communicate your immediate reaction to followers. At the start of the show, I admit that even I felt the endorphin effect of live tweeting. It’s kind of exciting and fun, despite the element of distraction.
2.) Whether people want to admit it or not, live tweeting is a smart marketing move. Publicity is critical to the success of a show and producers need to be creative and keep up with the times to maintain theatre’s viability. This includes the acceptance of social networking as a necessary piece of marketing theatre.
So where does this one-time live tweeter stand on the subject of “Tweet Seats”?
-Pretty neutral and understanding of both sides.
-Live tweeting is not for me (see my list of cons).
-There are many theatre-lovers out there who WILL have “enhanced” theatre experiences in a “Tweet Seat”.
-Theaters need to assure that etiquette is maintained by seating tweeters in a location where cell phone lights cannot be seen. The back of the theatre at PPAC doesn’t cut it.
-I support anything that supports the success of theatre.
The National Tour of Catch Me If You Can has opened at the Providence Performing Arts Center! Opening on Broadway in 2011, this charming new musical is based on the story of real-life con man, Frank Abagnale, Jr., who passed $2.5 million in forged checks while posing as a doctor, lawyer, and pilot all before he turned 21 years old. With a magnificent score by Marc Shaiman and Scott Wittman and an amusing and clever book by Terrence McNally, Catch Me If You Can is a surefire audience pleaser.
Synopsis: Growing up, Frank Abagnale, Jr. has a seemingly perfect childhood, raised by two doting parents including a father who taught him the importance of outward appearances. At the age of sixteen, his parents divorce, and rather than choose between them, Frank escapes to New York City where he quickly learns the art of being an impostor (as well as how to pass bad checks). It isn’t long before FBI agent, Carl Hanratty is hot on his tail, which leads to a sometimes intense, sometimes hilarious cat and mouse chase, and ultimately, an unlikely friendship.
Comments: The highlight of Catch Me If You Can is its upbeat, energetic, “big band” score, which is reminiscent of the 1960‘s Sinatra “era”, and this is followed closely by Jerry Mitchell’s impeccably choreographed dance numbers performed by a talented ensemble of dancers. The audience went wild for jazzy numbers such as “Doctor’s Orders”, “Live in Living Color”, and “Jet Set”. (It’s not surprising that Shaiman and Wittman were recruited for SMASH- this duo certainly knows how to create an audience-pleasing score!)
Recent college graduate Stephen Anthony is near perfectly cast as high school student turned con artist, Frank Abagnale, Jr. Not only does he possess boyish good looks and charm, he can also sing the heck out of the score in a performance that rivals Aaron Tveit’s (who originated the role on Broadway). Undoubtedly, he gave the stand out performance. I thought he had great chemistry with his stage father, played by Dominic Fortuna, and I particularly enjoyed their scenes together.
As the gruff, but endearing FBI agent who relentlessly chases Frank halfway across the world, Merritt David Janes certainly nailed his highly anticipated dance number, “Don’t Break the Rules”, which was performed by original Broadway cast member, Norbert Leo Butz, at the 2011 Tony Awards. He also sang several slow, bluesy numbers that I really enjoyed and gave both a comedic and dramatic performance. I expect that he will grow more into the role as time goes on, seeing that Providence is the first stop on the tour.
As Frank’s sweet and innocent love interest Brenda Strong, Aubrey Mae Davis was very effective, and she gave a warm and mournful performance of a pretty 11 o’clock ballad called, “Fly, Fly Away”.
The orchestra was effectively placed on the stage rather than in the pit, and much like the musical Chicago, the orchestra was part of the story line. There were large screens which projected various colors and shapes during the musical numbers. I don’t recall these screens in the Broadway production and I’m unsure if they are a new addition for the tour, but regardless, they were completely unnecessary and distracted the audience from the actors.
The Verdict: Catch Me If You Can is one of my favorite musicals; it’s smart and comedic with great music and choreography, and I’m glad people around the United States have been given the chance to see it.
Background: Rounding up the season at the Providence Performing Arts Center is Bring It On: The Musical. Likely viewed as the underdog in a season that included Les Miserables, Mary Poppins, and The Addams Family, there were many preconceptions about the show that bypassed Broadway to become a national tour. Viewers have termed the show “predictable”, “cheesy”, “for teeny-boppers”, and “wasted talent”, despite a creative team that boasts credits which include the Tony award winning musical, In the Heights, and the Tony award winning and Pulitzer prize winning musical, Next to Normal.
Synopsis: Campbell, a popular cheerleader, is about to start her senior year of high school, and as captain of her cheerleading squad, she dreams of taking the team to “Nationals”. Her plans are destroyed when a seemingly sweet sophomore cheerleader named Eva overtakes the squad by having Campbell transferred to Jackson High School which, to Campbell’s dismay, does not have a cheerleading squad. At the multicultural Jackson High, Campbell finds herself in the minority for the first time, but sets out to start a new cheerleading squad and fulfill her dream of going to nationals.
Comments: If you are planning to see Bring It On, I would recommend forgetting what you’ve heard or what you think you know about the show, and enter the theatre with a clean slate. Bring It On was not at all what I expected. The rap-infused, R&B score screams Lin Manuel Miranda- this is not a bad thing- and leaves you humming some of the more memorable melodies as you leave the theatre. The choreography included three extensive cheer routines that were quite impressive and obviously very different from what you typically see in the theatre. Seeing the actors perform flips in mid-air does put you at the edge of your seat. I enjoyed the choreography the most. The story-line was predictable, but embellished with enjoyable songs and dance/cheer numbers. What I liked about the story-line is that it didn’t copy the movies’. It was a new story that preserved the same themes as in the movies: high school rivalry, interracial friction, and teamwork to name a few.
Taylor Louderman and Adrienne Warren played rivals Campbell and Danielle respectively and I thought they had great chemistry together. I especially liked Adrienne Warren’s voice and I immediately thought that she would make a great Felicia in Memphis! Ryann Redmond as Bridget, the unpopular, dorky, perpetual school mascot turned cheerleader, probably steals the show. She nailed all of her lines and had the audience cracking up and rooting for her character. I really enjoyed her performance of “Ain’t No Thing” in particular. Kate Rockwell and Janet Krupin as Skylar and Kylar, Campbell’s shallow cheerleading friends, were also very funny. Elle McLemore as Eva played evil very well. Another strong voice was that of Jason Gotay who played Randall.
The Verdict: while Bring It On isn’t likely to win any Tony Awards, it is a fun night at the theatre. If you want to see some great cheerleading stunts, listen to some catchy music by the very talented Lin Manuel Miranda and Tom Kitt, and have some laughs, check out Bring It On at PPAC through 4/28/12! Or check out the recently released music sampler which contains three songs from the show- "It's All Happening", "Ain't No Thing", and "Enjoy the Trip".
The Addams Family tour has arrived at the Providence Performing Arts Center now through Sunday, March 25th!
The Broadway production of The Addams Family (starring Nathan Lane and Bebe Neuwirth) ran for almost two years, closing on December 31, 2011 after a successful run. Though the show received mostly negative reviews, only two Tony nominations, and did not even perform at the Tony’s, it was a fan favorite. The touring production has been revamped with new songs and new story-lines... and after seeing the original version on Broadway in 2010 and now the new version, I am confident in stating that the show has been changed for the better.
Let me start by saying that the Broadway production of The Addams Family was not nearly as bad as the reviews portrayed it. If I remember correctly, Ben Brantley of the NYTimes termed it “ghastly”. There were parts of the show that I remember thinking were corny or shallow or a little far-fetched, but it was funny and entertaining overall. With that said, the revised production is far better!
The story-line is more cohesive and easy to follow. The changes to the story-line make for a better plot. For example, Morticia does not know of Wednesday’s engagement in the revised production, which causes tension between her and Gomez. In the original Broadway production, Morticia’s story-line seemed to revolve around her obsession with getting older. One would expect a “juicier” plot and more character development for the female lead of a musical. I’m also very glad they got rid of the pet squid. I was never a fan of the pet squid that kidnaps Mal Beineke. One change I wish they had made was giving Grandma more scenes... or even better, a song. A Grandma song would have a lot of comedic potential.
The highlight of the show was the performance of Douglas Sills as Gomez. He really nailed it with great comedic timing and stage presence. Sara Gettelfinger was good as the dark and dry Morticia. Cortney Wolfson as Wednesday sings two of my favorite songs in the show- “Pulled” and “Crazier Than You”. She had a great voice. Speaking of good voices, Patrick D. Kennedy as Pugsley was also vocally impressive. Blake Hammond as Uncle Fester was charming! The entire cast was solid. The sets and costumes were reminiscent of the comic strip origin of The Addams Family. The score offers many genres of music from pop to Spanish to the traditional showtune. There’s something in it for everyone and it’s definitely appropriate for the school-age child.
The Verdict: Go see The Addams Family at PPAC if you want to see something funny and entertaining for all age groups.
Who doesn’t love the Disney movie classic, Mary Poppins? As children, we all dreamed of jumping into chalk drawings, having tea parties on the ceiling, and dancing on the rooftops of London with the practically perfect nanny. Well, I did anyway!
Almost fifty years later, the beloved story of Mary Poppins has been made into a highly successful Broadway musical, first opening on Broadway in 2006. It has been so popular with audiences that it is now touring the United States, most recently visiting the Providence Performing Arts Center (PPAC) on February 8th through February 19th.
Mary Poppins, the musical, is mostly true to the movie with only a few added characters and several new songs including “Anything Can Happen” and “Practically Perfect”. Of course, the underlying themes of love, family, imagination, gratitude, and benevolence prevail in the musical. This show is abundant with special effects, which are not limited to Mary Poppins flying across the stage, Bert walking on the ceiling, and more- much to a child’s delight! The choreography was flawless; most impressive were the energetic tap numbers performed to “Step in Time” and “Supercalifragilisticexpialidocious”. I hope I spelled that correctly.
Mary Poppins employs a top notch, first-rate cast. Rachel Wallace, who played the title character, was excellent as the practically perfect nanny. Her singing was “pristine”, and (forgive me for the repetitive use of this phrase) “practically perfect”. I particularly enjoyed “Spoonful of Sugar” and the very poignant, “Feed the Birds”, which I feel really captures the essence of the story. Speaking of “Feed the Birds” and strong performances, I was blown away by the performance of Q. Smith who portrayed both the Bird Woman and Miss Andrew, the dark nanny who replaces Mary Poppins temporarily in Act II. After a beautifully rich rendition of “Feed the Birds” in Act I, she blew the audience away with her belting skills during her performance of “Brimstone and Treacle”. Mary Poppins and Miss Andrew may be rivals, but they both stole the show.
I admit that I missed Mrs. Banks’ song, “Sister Suffragette”, but it was replaced by a pretty song called, “Being Mrs. Banks” that stayed true to the theme of autonomy and freedom for women.
The Verdict:
Overall, Mary Poppins is a triple threat in itself, with superb singing, dancing, and acting.
Check out Mary Poppins at PPAC before February 19th.
