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Russell’s Mary Poppins soars

This is not your grandmother's Mary Poppins. Yes, the big musical numbers are there, and all the lovable characters are there. There's just more of them to love.
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Amanda Spurlock plays Mary Poppins in Judy Russell’s production of Mary Poppins running until July 31 at the P.G, Playhouse.

This is not your grandmother's Mary Poppins.

Yes, the big musical numbers are there, and all the lovable characters are there. There's just more of them to love. Instead of elbow-jamming the classic Marry Poppins stories into a two-hour film, the stage version is spread over more than three hours and it provides the audience with more music, more dancing and especially more character development.

The Banks household on stage resembles a modern family in crisis, despite the cardboard depiction of them in the 1964 movie.

It also adds touches of depth to the relationship between Poppins and her dancing chimney-sweep buddy Bert.

It also means, however, that local director/producer/choreographer Judy Russell had a bear-cat of a production on her hands.

The demands of the huge script showed in small ways on opening night. Some of those problems, like a dollhouse being dislodged in one dance scene, and errors in the rising and falling of some backdrops, probably won't be repeated now that the experience has informed the cast and crew.

Some problems, however, will likely follow through the full 15-show run. Things like the actors being persistently lit too dimly, some of the sets looking hastily assembled, and the (extremely sweet-sounding) orchestra sometimes overpowering the vocals.

Slow pacing on opening night I expect will get markedly tighter, too, now that the first performance is under their belt. The dialogue needed to flow much more assertively, the transitions between set changes and song intros needed to be much crisper.

I predict this cast and crew will be almost immediately improved on those points.

But it only takes a small spoonful of sugar for that medicine to go down. The real measure of a musical theatre show is handling of the big numbers. Did Russell and company ever deliver on those.

Step In Time is a highly anticipated moment in any Mary Poppins version, and the merry band of chimney-sweeps and the delighted children watching them prance all got a rousing rush with that one. And when the large chorus whips out Supercalifragilisticexpialidocious, it brings the house down with an innovative cheerleader-tinged burst that makes the Village People's YMCA seem like a lazy snooze.

Be prepared for a surprise, though, when watching this cast, because the commitment goes deeper than the familiar ones we all expect. It isn't a showstopper of a scene, but Katherine Trepanier is positively heartbreaking in her depiction of the old bird lady selling breadcrumbs for tuppence a bag. And when the bank tellers begin shifting and gliding about the stage while still inside their wickets, the audience is treated to a surreal shell-game set to music.

It's hard for the audience to be unimpressed when the actors actually fly. It might seem simple, since both Poppins and Bert saunter across the sky so effortlessly, but the mechanics and logistics of two local actors being flown about the P.G. Playhouse stage is simply incredible and the fact Russell managed to deliver this effect is deserving of a round of applause all by itself.

The actors are, of course, the most scrutinized part of any show.

Amanda Spurlock as Poppins is simply a gift for the audience to cherish. She is the full range of funny, stern, sincere, even fierce when appropriate. She is strong and beautiful throughout, and sings like a lark.

Had film director Robert Stevenson had Adam Harasimiuk at his disposal, the world never would have seen Dick Van Dyke in the role of Bert. Harasimiuk flashed his rich acting colours and brought the audience along on every rooftop and sidewalk he waltzed across.

More of a surprise were Mr. and Mrs. Banks. Actor Gary Chappel has shown numerous times over his career that he can carry a show all by himself, but here he proved he was also a consummate supporting actor, turning George Banks into a real man in ways the film never does, with a strong singing voice and emotional locomotive to drive.

As his wife Winifred, Laura Heagy gets to do what she has never been able to before, in her long career as a chorus member and supporting actor in Prince George.

Heagy finally gets to do some heavy lifting, and for the first time feel a spontaneous ovation just for her. She was a vision of elegance and sensitivity, and the audience loved her.

The children of the show are sure to impress - they did on opening night - but there is a rotation of actors in roles of Jane and Michael Banks so you'll get combinations of Kendra Hamelin (a scene stealer during the first performance), Rya Quarenghi, Mattias Cheung (clearly a budding comedian, based on the first night) and Felix Nelles.

On the comedic side, Tracy Summerville was a standout as Mrs. Brill the housekeeper, as was Padraig Hogan as Robertson the servant.

The supporting cast was strong, and the dance/vocal chorus was even stronger. It would be worth attending a show comprised only of the amazing orchestra (led by Susan Klein) doing the songs as a concert with the cast singers. (Special recognition to choir director Robin Norman and choreographer Nicole Russell.) They were all spit-spot and powerful enough to fly any kite.

Mary Poppins is on until July 31 at the P.G. Playhouse.