Director Rebecca Saari and the cast and crew from Fargo Davies bring one of the most beloved stories of all time to life in Mary Poppins. This theatrical adaptation of the classic stories by P. L. Travers and the beloved Mary Poppins produced by Walt Disney premiered in London’s West End in 2004 before moving to Broadway in 2006. The show features music and lyrics by Richard M. Sherman and Robert B. Sherman, along with new songs by George Stiles and Anthony Drewe.
From the moment Mary Poppins first takes flight, this production invites the audience to believe in magic. It’s a show that has long been a personal favorite of mine, so when Rebecca announced it, the anticipation was immediate. I’d love to tell everyone reading this to rush out and get tickets, but chances are, you’re already too late. If you do have a seat, consider yourself very fortunate.
Clara Kranz brings a poised, confident presence to Mary Poppins, balancing warmth with just the right touch of mystery. Her performance in “Practically Perfect” establishes her command of the role early, with crisp vocals and a knowing sense of humor. She shines again in “A Spoonful of Sugar,” guiding both the children and the household through transformation with effortless charm, and her work in “Playing the Game” adds emotional depth to her relationship with Jane and Michael. Throughout, Kranz captures that delicate balance of strictness and care that defines the character.
Ryder Ulmer’s Bert is charismatic and energetic, serving as both narrator and emotional anchor. He leads “Jolly Holiday” with an easy charm that draws the audience into the world, and his showmanship is on full display in “Supercalifragilisticexpialidocious,” where he anchors the delightful chaos with confidence. Ulmer truly electrifies the stage in “Step in Time,” driving the number with infectious energy while working seamlessly with the chimney sweep ensemble. His connection with both Mary and the children feels genuine, making his performance a standout.
Clara Meline and Joey Alonzo, as Jane and Michael Banks, are the heart of the production. They open with “The Perfect Nanny,” setting the tone with clarity and personality, and continue to impress in “Practically Perfect” as they respond to Mary’s arrival with curiosity and delight. Their participation in “Jolly Holiday” and “Supercalifragilisticexpialidocious” demonstrates strong stage presence within large ensemble numbers, while “Playing the Game” allows them to explore more emotional nuance. Both performers bring sincerity and strong vocal work to their roles.
Isaac Knudson delivers a layered portrayal of George Banks, grounding the production with emotional weight. His performance of “A Man Has Dreams” is a highlight, capturing George’s internal struggle with sincerity and vocal strength. Knudson charts the character’s journey from rigidity to reconciliation with care, making his transformation feel both earned and impactful.
Annie Hannig’s Winifred Banks is both spirited and sympathetic. She brings warmth and humor to “A Spoonful of Sugar,” integrating seamlessly into the household dynamic, and truly shines in “Being Mrs. Banks,” where she conveys the character’s internal conflict and growth with clarity and emotional honesty. Hannig gives Winifred a strong, resonant identity.
Samantha Ernst and Braden Li provide excellent comic support as Mrs. Brill and Robertson Ay. Their work in “A Spoonful of Sugar” highlights their timing and physical comedy, contributing to the controlled chaos of the Banks household. Both performers maintain strong character choices throughout, adding texture and humor to the production.
Emme Matcha makes a memorable impression as Miss Andrew, commanding the stage in “Brimstone and Treacle” with intensity and presence. Her portrayal provides a sharp contrast to Mary Poppins, and she fully embraces the role’s imposing nature, creating a formidable and engaging antagonist. 
Izzy Springer’s Bird Woman offers one of the production’s most poignant moments with “Feed the Birds.” Her performance is simple, heartfelt, and vocally moving, providing a quiet emotional centerpiece that lingers long after the song ends.
The ensemble as a whole deserves special recognition, particularly in the large-scale numbers like “Jolly Holiday,” “Supercalifragilisticexpialidocious,” and “Step in Time.” Their energy, precision, and commitment elevate each scene, creating a vibrant and immersive world. This is especially evident in the choreography by Amanda Perlenfein, which is both dynamic and storytelling-driven, giving each performer a clear role in the movement and ensuring that every number feels alive and purposeful.
Photo credit to Renegade Photography
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