Review: MARY POPPINS THE MUSICAL at Impact Arts Summer Stock Austin

MARY POPPINS THE MUSICAL has its roots in the classic children's books by P.L. Travers, first published in 1934. The magical nanny who brings order and wonder to the Banks household became a cultural icon after Disney’s 1964 film adaptation, which blended Travers’ stories with unforgettable songs by The Sherman Brothers.

Seventy years later in 2004, the stage musical premiered in London and on Broadway in 2006. The musical honors both the books and the film while carving out its own identity. With a script by Julian Fellowes (Downton Abbey, what?!) the show deepens the emotional arc of the Banks family and gives the characters richer backstories. If you’re a casual fan of the iconic movie without delving into Travers’ books, you’ll find yourself trying to place some of the characters Fellowes masterfully includes to balance whimsy with substance, and ground the magic in human transformation. 

New songs by George Stiles and Anthony Drewe complement the beloved original score, and the production dazzles with inventive choreography, theatrical illusions, and heart. Mary Poppins the Musical doesn’t just rehash a classic, but deepens it, offering a sweet and magical experience that speaks to children and adults alike.

In this production of the show produced by Impact Arts for their Summer Stock Austin series, the energy was palpable on the night we attended. You can’t fail to notice the ebullience of the powerfully talented youth who populate the stage for this production, or any offered by Impact Arts. Youthful ebullience doesn’t always translate to a well executed production, but I assure you, it does here, as it does with most all of this company’s endeavors. This MARY POPPINS production finds an ideal home at SSA, where inclusion and education meet theatrical excellence. The show is delivered by passionate young artists collaborating with professionals and echoes Impact Arts’ values of mentorship, transformation, and community-connected storytelling.

As directed by Deonté Warren, this now nearly 100 year old story retains its relevance. Its magic is accessible to both child and inner child alike, and Warren's capacity for casting a diverse and gifted ensemble is evident. The talented team of choreographers, Barrett Davis and Noah Wood (I still think about Woods wonderful work in last season’s Guys and Dolls) corral a cast of around 40 (!) gifted youth. This is a production that demands attention. The dazzle of such a large cast is rarely a sight you’ll see on other stages around Austin, including those that are transferred from Broadway. The full ensemble numbers are truly an entertaining spectacle, if forgivably crowded.

I do wish I could point out each of these cast members, but time and space won’t allow. This ensemble truly enthusiastically embodies the work. But I can’t go without pointing out the great artistry of a few standouts, either. Filling some pretty big shoes as both Mary Poppins and Bert, Ava Moak and Aidan Cox flesh out the characters with exemplary style. It’s tough to put your own spin on such classic characters while staying within the bounds of these iconic roles. Cox’s Bert is a captivating and easy-going storyteller, and Moak’s Mary is admittedly… well… you know… practically perfect in every way. (Someone had to say it, yes?) She shines in her first role with Impact Arts. I could barely keep my eyes off young Layla Ramos and Strider Ullah. Ramos’s Jane is gentle and sincere, and Ullah’s Michael is charmingly irrepressible. His comic timing is impressively scathing in one so very young.

At it’s heart, MARY POPPINS  is a story very much about a father’s redemption and the healing of a fractured family. Making this very clear in their roles are Finn Alexander as George, and Sophia Avila as the Holy Terror Miss Andrew. I would argue that acting can sometimes be the last thing that gets attended to in a musical, but both these gifted actors possess an accomplished and magnetic skill of the craft.

Despite a few dropped cues and technicalities that likely only the most scrupulous among us would notice, this is a supercalifragilisticexpialidocious show. I would imagine the kinks I noticed on the night we attended have been well ironed out by the time you read this. I encourage you to take advantage of this wonderful opportunity to support Austin’s magnificent pool of youth actors. 

Summer Stock Austin has run for over 20 seasons, producing two to three repertory musicals each summer. It is tuition‑free and participants are selected based on talent and promise, not ability to pay. High school and college performers and technicians work side‑by‑side with professionals and mentors in every production area—from performance to prop design, marketing, and fundraising. Summer Stock Austin is widely regarded as the only program of its kind in the U.S., combining youth performers with seasoned practitioners in a true stock-style, immersive learning experience. Your chance to see more than one of our most formidable new rising stars in theatre is happening now. Don’t miss it!

MARY POPPINS THE MUSICAL

Original Music and Lyrics by Robert M. Sherman and Richard M. Sherman

Book by Julian Fellowes

New Songs and Music by George Stiles and Anthony Drewe

Directed by Deonté Warren

with Choreography by Barrett Davis and Noah Wood

Music Direction by Deonté Warren

SummerStock Austin

July 25 - August 10, 2025

McCullough Theatre, University of Texas

Robert Dedman Drive and E. 23rd Street

Campus of the University of Texas

Austin, TX, 78712