Review: MARY POPPINS at Palm Canyon Theatre

What holiday season can be claimed as complete without a Disney musical, right?  While one can tick that box with the opening of “Moana 2” at the local movie house, there is nothing like a live performance to energize those merry-making juices.  Palm Canyon Theatre provides that much needed “spoon full of sugar” into their magically musical punch bowl of fun, “Mary Poppins”.

The P.L. Travers inspired tale of the mysterious nanny with a satchel full of tricks and a sunny nothing-is-impossible disposition is timeless and is hard to not be lured in by, no matter how jaded one’s old soul is. The parrot umbrella toting ma’am comes to the aid of Georgian era “model” family, the Banks, in 1910 London.  With a distant patriarch, a new out-of-her-depth mother and two children who drive everyone to distraction, M. Poppins has her magically nimble hands busy!  Aided by her gent Friday, renaissance man Bert the (sometimes) chimney sweep, Londoners best hang onto their hats!

It is impossible to overstate the importance of casting a Mary Poppins that hits all the notes.  She is the show’s karmic glue and the impetus for all the action.  In this, they could ask for no better a lady than Se Layne.  With her operatic soprano, natural grace and a mischievous twinkle in her eye, Ms. Layne might as well have been truly transported from the heavens via umbrella.  She has a natural charisma with Reagan Kaminsky and Lawrence Hatch, the play’s rambunctious siblings Jane and Michael Banks.  Blithely game for any shenanigans that are afoot is Bert played here by Luke Rainey. If Mary Poppins is the center of the show’s universe, Bert is the omnipresent force of gravity.  Any soul brave enough to take on such an iconic role is ever in the shadow of the great Dick Van Dyke in the minds of the public, the original chim chimney cheroo from the 1964 Disney film.  Mr. Rainey has the easy grace, the fleet feet and the charm to make the role his own.  While I would have liked a little more Cockney in his swagger, I also understand that on stage that accent can descend into incomprehensible if one is not careful.  His vocals were clean and appropriately wistful and foreshadowing.  “Step In Time” and “Jolly Holiday” were two of his blockbuster numbers that had audiences in the palm of his hand.

The Banks family was embodied herein with dictatorial Father, George brought to life with frenetic intensity by Eric Stein-Steele, sweet new Mother Winifred played here with an understated flair by Jenne Carey and their two brats…er, darling children, the previously mentioned Michael portrayed by Lawrence Hatch and Jane, acted by Reagan Kaminsky.  Mr. Stein-Steele’s performance was a study in barely restrained madness.  I have seen the show in a couple different incarnations, but I’ve never seen George Banks played with such a demeanor.  As the chips start to stack against the “Daddy”, the more mentally unhinged he becomes. It is a unique choice from which his detachment from his family derives.  His sheer terror when “the holy terror” arrives feels genuine!  Felt like giving him a Xanax or two just to bring down his blood pressure!  Milquetoast Winifred is, in my estimation, an underwritten role in the musical, but Jenne Carey does her best to bring poise and gentility to her portrayal.  I do remember there was a suffragette subplot that was curiously missing from this rendition that involved her character, it feels like it would have been timely.  Her moment to shine is “Being Mrs. Banks”, which she shows her lovely soprano tones.  The kids are appropriately bratty and know-it-all. If they were not, Mary wouldn’t have anything to correct, would she?

The household consists of the menacingly put-upon cook and housekeeper Mrs. Brill, here played by Olga Morales, the vacuous houseboy Robertson Ay portrayed by Tim Steele and the goofily chipper housemaid played by Taylor Graham.  Ms. Morales’ character is appropriately pushy and suspect of every perceived threat to her “kingdom” of the household.  Mr. Steele’s concoction is steadfast in his inability to do anything right, the flickering dim bulb of his mind can be seen flashing at moments but not enough to trust him with anything important.  Playing with less than a full deck is harder than it looks and not be a caricature, which Mr. Steele has done here.  Miss Graham brings a playful spirit to life in the role of the maid, albeit a half step behind the other house staff, and was fun to watch.

The ensemble has the task of bringing little moments of London life and bursts of character to the tale:  Admiral Boom (Neil Badham) with his weather reports from his suburban crow’s nest, the flirtatious Mrs. Lark (Norma Marcus) walking her dog Willoughby (a live dog credited as Tucson Rainey) who was “aw-inducing).  Amanda Burr’s downtrodden Bird Woman and colorful Mrs. Corry brought pathos to “Feed the Birds” and frivolity to the penultimate show number “Supercalifagilisticexpialidocious”.  Adam Heiter’s Chairman of the bank was a funny old fussbudget and the venerable Alden West’s turn as “The holy terror” herself Miss Andrew was a treat.  Her relish at portraying Miss Andrew’s wretched ways was delicious.  The featured dancers deserve mention here, particularly Noah Wahlberg’s Neleus and Timothy Rathkey’s Valentine the marionette were lithe, strong dancers, a treat in their moments in the spotlight. The rest of the ensemble were a never stopping cavalcade of all dancing, all singing performers who made the world whole including Valerie Ayala, Lois Bondurich, London Dykes, Isla Gurnon, Danny Hargreaves, Terry Huber, Thelma Irvine, Bogdona Koltsove, Radmirah Koltsova, Leilah Mendivil, Emma Sanders, Finoa Sarchett, Alicia Wilson and Sanai Wright.

Director Derik Shopinski allowed the action to flow organically.  He knew the points to be hit and he ensured that they did so.  Choreographers Mr. Shopinski and Nathan Wilson provided dance that was fun and energetic, particularly such energetic numbers as “Step in Time”.  Musical Director Timothy Reed had the ensemble sounding strong and the leads elevated.  JW Layne’s set as always, was functional and versatile, pivoting in folding sections to form various rooms in the Bank’s house quickly.  Projection Designer Nick Edwards once again provides excellence with his projection work as well as the magic effects that went off, seemingly, flawlessly.  Bravo to JW for his lighting design that enhanced and did not wash out the projection effects, no easy feat! Resident Costume Designer, Mr. Shopinski and his team kept the dress firmly in the 1910’s, yet colorful and fun. Joyanne Tracy’s Properties work was also on point as we’ve come to expect.

If you need a bit of “Chim Chim Cher-ee” to get your holiday spirit going, then bring your family down to see “Mary Poppins” at Palm Canyon Theater because “Anything Can Happen If You Let It”. The production runs Thursdays at 7:00p.m., Friday and Saturday at 8:00 p.m. and Sundays at 2:00 p.m. through Sunday, December 22.  As of this writing, it appears Friday, December 6 and Saturday, December 7 are already sold out.  Tickets can be purchased ONLY at www.palmcanyontheatre.net or by calling (760) 323-5123.

Next up on Palm Canyon Theatre’s 2024-25 season slate:

Sounds of the Season (Dec 18) Come join them for an evening of Holiday music, performed by many PCT favorites!  Se Layne, Paul Grant, Christian Quevedo, Jenne Carey, Olga Morales, Scott Clinkscales, Georgia Smith, Eric Stein-Steele, Ben Reece, Francesca Amari, Ron Coronado, Rebecca McWilliams, Jonathan Brett, Michael Pacas. The Palm Canyon Theatre is also hosting a food and toy drive for the Community Food Bank @ The Center, please bring donations of non-perishable food and unwrapped toys with you to the theatre, or drop off at the theatre lobby. Now through December 22.

A Very Sordid Wedding (Jan 17 – 26, 2025) It's 2015, seventeen years after Sordid Lives and Peggy's unfortunate death, after tripping over G.W.'s wooden legs, and life has now moved on for the residents of Winters, Texas. A Very Sordid Wedding explores the questions, bigotry and the fallout of what happens when gay marriage comes to communities and families that are not quite ready to accept it.

My Fair Lady (Feb 7 – Mar 2, 2025) Based on George Bernard Shaw’s play Pygmalion, My Fair Lady is that rare musical by which all others are measured, featuring one of musical theatre’s greatest scores. This classic tale shows us Eliza Doolittle, a low-class, Cockney, flower girl, transformed into an elegant lady when Professor Henry Higgins decides to teach her how to speak like a proper, upper-class woman. During their lessons, an unlikely friendship begins to flourish.

Victor/Victoria (Mar 14 – Apr 6, 2025) On the brink of starvation, Victoria Grant achieves stardom by masquerading as a man, "Count Victor Grazinski," who performs as a female impersonator. When macho businessman King Marchan develops feelings for “Victor," and Victoria reciprocates, the whirlwind of complications begins, ultimately revealing a moving story about self-discovery, tolerance, and second chances.

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