Midway through the second act of “Mary Poppins,” Logan O’Neill stops the show by literally climbing the walls.
As Bert the chimney sweep, Logan O'Neill dances upside down while singing "Step in Time" at Venice Theatre. Renee McVety Photo/Provided by Venice Theatre
Played by an effervescent Logan O’Neill, Bert leads his fellow sweeps through a lively tap dance to “Step in Time,” before he steps away from the pack. With a quick salute, he takes one giant step onto the stage wall and starts climbing up.
Sure, you can see the wires holding him, but he moves with flair until he’s upside down and tap dancing his way above the stage before he makes it down the opposite wall.
He is greeted with a roar for what is the clear highlight of Murray Chase’s production of the stage version of the classic film for Venice Theatre.
It features other kinds of magic, like Tim Wisgerhof’s set, which turns a plain park into an explosion of color for “Jolly Holiday,” and Nicholas Hartman’s beautifully elegant and appropriately scruffy costumes.
And it has Mary Poppins flying in and out on occasion to the awe of her young charges Jane and Michael Banks (and younger audience members).
The cast of "Mary Poppins" performs "Jolly Holiday" at Venice Theatre. Renee McVety Photo/Provided by Venice Theatre
The musical is inspired by the 1964 Disney film, my childhood favorite. The stage version from Disney and British producer Cameron Mackintosh darkens the story, with a new book by Julian Fellowes (creator of “Downton Abbey”) that draws more from P.L. Travers’ books.
Mary, played by an often charming but somewhat restrained Renee Cordonnier, is less sweet than she comes off on film. To teach lessons, she brings toys and statues to life in slightly creepy songs by George Stiles and Anthony Drewe, which augment the remaining originals by Richard M. and Robert B. Sherman.
Even the more famous songs like “A Spoonful of Sugar” and “Supercalifragilisticexpialidocious” get a lyrical makeover on stage.
Some of the changes work better, but help to avoid the musical being a copy of the film.
The heart of the show remains Mary’s efforts to help the chilly banker George Banks to stop working so much and discover a love for his children.
From left, Natalie Taylor, Logan Schultz, Logan O'Neill and Renee Cordonnier in "Mary Poppins" at the Venice Theatre. Renee McVety Photo/Provided by Venice Theatre
Mary remains an enigma, a woman who turns the ordinary into the extraordinary with a snap of her fingers or singing of a song. Cordonnier has a radiant voice that is put to good use and she looks game for whatever comes her way, including Geena Ravella’s often energetic dance routines.
But Cordonnier also looks like she’s held back by the flying, run by ZFX Inc. It takes time for her to get connected to the wires, which limit her movement, particularly in one key scene with a rival nanny. And she often flies for less time than it takes to get her hooked up.
It’s great to see her flying, but it doesn’t always seem worth the effort.
There are other visual tricks that should look more effortless, like a few props that shift in and out of place. And as attractive as Wisgerhof’s set is, some wall panels on the Banks’ home don’t stay put.
Renee Cordonnier as the title character, left, and Logan O'Neill as Bert, center, lead the cast of Venice Theatre's "Mary Poppins" singing "Supercalifragilisticexpiialidocious." Renee McVety Photo/Provided by Venice Theatre
But the story and songs are still appealing, and there are nice performances from Douglas Landin as the starchy George and Lisa Figueroa as his wife, who tries to figure out how to keep everyone happy.
Two sets of children play Jane and Michael, and at Tuesday’s opening Natalie Taylor and Logan Schultz made a nice transition from obnoxious brats to almost charming kids.
Musical director Michelle Kasanofsky brings out a nice sound from the singers, particularly the full chorus, though her pit orchestra struggles at times.
That’s emblematic of the full production that jerks into gear rather than soaring to great heights.
THEATER PREVIEW
MARY POPPINS
Book by Julian Fellowes, music by Richard M. Sherman and Robert B. Sherman, additional songs by George Stiles and Anthony Drewe. Directed by Murray Chase. Reviewed Feb. 17, Venice Theatre, 140 W. Tampa Ave., Venice. Through March 15. Tickets are $28, $15 for college students, $13 for children. 488-1115. venicestage.com
