THEATER REVIEW:"Mary Poppins"
BY JEB LADOUCEUR

The year 1964 saw an amazing event in motion pictures. Julie Andrews (with a hefty assist from Dick Van Dyke) introduced a beloved idol to children the world over-her name, of course, is 'Mary Poppins,' and the magical nanny endeared herself instantly to moviegoers of all ages. It was hardly surprising, then, that London's West End ultimately produced a stage version in 2004 . . . or that Broadway followed with its own rendition in November, 2006.

Now Long Island's marvelous Gateway Theater has also adapted the Disney film for the stage . . . and the result at the historic Patchogue Theater is (in the unique Mary Poppins vernacular) 'Supercali-fragilistic-expiali-docious!'

When reviewing 'Singin' In the Rain' last year, we had reservations whether the famed 'downpour' scene of that show's title could be convincingly done in the beautiful old Patchogue showplace where it (like this production) was presented. We needn't have worried. The puddly, splashy segment was as well delivered on stage as it had been in the Gene Kelly film.

But could The Gateway match that torrential triumph in mystic Mary's 'flying' sequence, wherein she's borne aloft by an umbrella endowed with magic carpet capabilities? After all, surviving an artificial rain storm might be one thing-flying above a sold-out audience in Suffolk County's largest theater is something else again!

But don't be concerned, dear patrons. The Gateway's Mary Poppins flies as if born to soar aloft . . . and one comes away from the performance convinced that there's no theatrical special effect this production company can't pull off when they put their minds to it.

Naturally, the gliding parasol sequence, though a cute touch in this enchanting show, is hardly the sum and substance of the iconic musical. The songs make this play what it is. Numbers like 'A Spoonful of Sugar,' 'Feed The Birds,' (Walt Disney's favorite song) and the Academy Award winning 'Chim Chim Cher-ee' have become classics that spin readily from the mouths of youngsters (and yes, adults too) the world over.

Gail Bennett in this extravaganza's title role is blessed with a lovely voice and stage presence, and she is ably supported by the multi-talented Tony Mansker. He plays Bert, her loyal chimney-sweep friend who, as the lovable cockney-voiced narrator, expertly keeps things moving along. In fact everyone in the superb cast sings, dances and (yes) flies flawlessly, making this 'Mary Poppins' yet another in a long list of winning Gateway spectaculars.

Kudos are in order for Director, Shaun Kerrison; Set Designer, Christine Peters, and Choreographer, Lisa Stevens. Child actors Alison Cordaro alternating with Thea Flanzer ... and Ethan Eisenberg spelling Nolan Lyons ... are absolutely delightful as the often-obstreperous children in the story. And of course, we mustn't forget the folks who gave that little black umbrella so much lifting power.

Finally, this reviewer, an admitted sucker for colorful period costumes in lavishly lit musicals, was blown away by Rachel Berchtold's stunning outfits combined with the exquisite lighting design of Kim Hanson. The overall effect is absolutely breathtaking, and a fitting 50th birthday present for the ever-young Mary Poppins.

The musical runs through July 19th. Do yourself a favor-call: 631-286-1133.

  Every day’s a holiday with Mary and the cast
BY LINDA LEUZZI

The Banks children tuck toads in their nannies’ beds, hide their spectacles and fling toys around with disregard. And that’s just for starters. Six nannies in six months in proper Victorian London. Shocking!

Plus, their father is a rigid male who won’t even kiss the kids.

As Bert, the chimney sweep, says, there’s trouble in 17 Cherry Tree Lane.

But a chilly wind ensues through the house and suddenly Mary Poppins appears, to save the day.

The latest Gateway production, the Long Island premiere of “Disney’s Mary Poppins,” stars Gail Bennett as the spunky nanny with magic up her sleeve. Bennett is terrific with her upright posture, gracefully punctuating hands, crisp little hitch up with her skirt and a confidence that tames Jane (Alison Cordaro) and Michael (Nolan Lyons) Banks, her charges, into submission.

But not without treats for them and us.

There are plenty of songs and Bennett delivers a clear soprano that’s fresh and strong as if it’s her first time; she’s performed the title role over 100 times on the production’s first national tour. She’s also joined by a zesty, committed cast. In “Jolly Holiday,” for example, Neleus, the park statue, comes to life. Played by Tanner Wilson, the silver inanimate object displays his true spirit with soaring dance steps and sinuous acrobatic moves that change the Banks children’s attitude about a boring stroll-through. He even has a discussion with the children and admits he misses his father, Poseidon.

The “Supercalifragilisticexpialidocious” scene is a rouser. Lisa Donmall-Reeve, who plays the eccentric Mrs. Corry in orange wig, high hat, green blouse and pink dress, is hilarious, and the dance scene with her chatterboxes to the famous song is a joyful romp, full of oompahs, wind-up poses, clapping hands, side-to-side steps and raised arms. And that Sandy Rosenberg as Miss Andrew (she also plays Bird Lady) oozes campy doom after Mary is replaced. Her method of coaxing obedience includes tinctures of brimstone and treacle.

The showdown between the two nannies when Mary returns becomes a brilliant magic fight. Hint: Miss Andrew disappears in a poisonous-looking green cloud, but not without first showing off her talented pipes. (Rosenberg played Frau Blucher last year at Gateway in “Young Frankenstein.”)

Mary’s takeoff with her umbrella across the stage is a treat, but the ascension of the flirtatious Bert (Tony Mansker reprising his Broadway role) up the side of the chimney, then dancing upside down in the ether, clinched the special effects. How does he do it with the flair of Astaire? Spoiler here: Flying by Foy, who aided Mary’s ascent on Broadway, are the aerial providers.

Cordaro and Lyons as the children were absolute pros. Kristen Beth Williams as Winifred Banks, the mother, infuses her character with a luminous kindness, longing and bewilderment at her husband George’s immoveable stance, played by Jonathan Rayson. His metamorphosis from unlikeable prig to decent human is a vulnerable dimension that’s gradual and admirable. Mary Vanarsdel as Mrs. Brill and Anthony Christian Daniel as Robertson Ay keep the exasperated housekeeping humor intact. The sets are absolutely lovely and imaginative.

There are a lot of life lessons interspersed between the thrilling singing and dance numbers for the audience and youngsters to ponder; it’s the reason Walt Disney cajoled author P.L. Travers for 20 years before she agreed to the 1964 movie, which won an Academy Award, and why the stage production, which opened first in London’s West End in 2004 and opened on Broadway in 2006, was nominated for seven Tony Awards. Shaun Kerrison, the director for the Broadway production, also directs this one.

Magic in our lives tends to be an illusive intangible nowadays for adults and even children, but the Gateway has the alchemy for this production down pat.

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