By Lynn Venhaus

When the titular character floats in using her umbrella, carried by the East wind to 17 Cherry Tree Lane in London, it’s a welcome jolt of joy — signaling that a merry time is ahead in this stage musical version of “Mary Poppins.”

And this vibrant, candy colored Muny production of the beloved magical nanny tale is as whimsical as you remember.

Director John Tartaglia makes it sparkly and this cast of 75 brings the magic that he is striving for in his sixth show, hoping to see smiles on a summer night.

The nostalgia factor is high, recalling the sublime Oscar-winning performance of Julie Andrews in the iconic 1964 Disney movie, which is based on P.L. Travers’ series of children’s books, eight of them starting in 1934.

Disney’s crowning live-action achievement was the highest-grossing film of 1964 and garnered 13 Oscar nominations, winning five: (actress, editing, original music score, visual effects, and song for “Chim Chim Cher-ee”). During Walt’s lifetime, it was the only one of his films to earn a Best Picture nomination.

With Travers’ permission, master producer Cameron Mackintosh turned the tale into an acclaimed stage musical in London in 2004, which opened on Broadway in 2006, and continued for more than six years. It closed on March 3, 2013, after 2,619 – the 24th longest-running show in Broadway history.

The show is a mix of the movie and the books. The sentimentality is part of its appeal, and this ensemble blends both freshness and fondness for the traditional qualities to please a new generation.

Jeanna de Waal is an ideal Mary, moving with ease, popping in and out with her grace and regal bearing.  She is a good sport for her spectacular flying segments, with seamless effects work by ZFX.

For a little extra insight into the mystical nanny, she projects an air of mystery, indicating there’s more than meets the eye. She also sings like a dream, smoothly cavorting in the newer song “Practically Perfect” and a reworked setting for “A Spoonful of Sugar.”

In fact, this is a cast of glorious voices.

The charismatic and charming Corbin Bleu uses his considerable song and dance skills as the lovable happy-go-lucky Bert. It’s a triumphant return to the Muny following his sensational turn as Don Lockwood in “Singin’ in the Rain” in 2018. He had dazzled critics and audiences alike, winning the St. Louis Theater Circle Award for Best Actor in a Musical. 

Photo by Phillip Hamer

Bleu, who first came to prominence as Chad in the “High School Musical” movies, works well with De Waal and the ensemble — and has a few cool moves I won’t spoil.

That score by Robert B. and Richard M. Sherman is unforgettable – and in fact, some Muny patrons sang along. But the musical is not a replica of the film, for “I Love to Laugh” has been omitted, as has “Sister Suffragette,” “Stay Awake” and “Fidelity Fiduciary Bank.”

With a few exceptions, the new songs by George Stiles and Anthony Drewe do not seem to be as catchy as the Sherman brothers’ collaborations. Even at a 2 hour and 35 minute-run time, “Anything Can Happen,” delivered in two parts, seems to drag on and on. A little editing of some numbers would have made for a tighter experience.

“The Life I Lead” has been replaced by “Precision and Order,” sung by the stern banker, George Banks. In Julian Fellowes’ book, George is revealed to have had a strict childhood, and the parents are more dysfunctional, with Winifred Banks a former actress who can’t seem to fit in to the elite society, and the two children, Jane and Michael, are naughtier.

The real-life husband-and-wife duo of Nehal Joshi and Erin Davie are splendid in vocals and their character development. Their new songs include “A Man Has Dreams” and “Being Mrs. Banks.” I do wish Mrs. Banks was still a suffragette, as Glynis Johns was so robustly in the film.

The kids are brattier – as played by Laila Fantroy and Gabe Cytron, so they are not likable, especially when acting entitled and wreaking havoc in the kitchen, but their growth results in more compassionate youngsters. Whew!

A new character, Robertson Ay, is a screwball addition, and Barrett Riggins, so deliciously wicked in “Camelot,” shines as the bumbling oh-so-not-helpful houseboy.

Chipper Jade Jones has the versatile three-peat of Katie Nanna, Mrs. Corry and Miss Smythe.

Photo by Phillip Hamer

Debby Lennon, two-time St. Louis Theater Circle Award winner, is a hoot as the “Holy Terror!” – aka George’s cruel childhood nanny Miss Andrew – who arrives to get everyone back in ship-shape after the breezy frolics with Mary. She is overbearing in “Brimstone and Treacle Parts 1 and 2.”

A masterful Darlesia Cearcy brings the house down as the Birdwoman at the park, with a superbly executed rendition and reprise of “Feed the Birds.”

Other high points include the jaunty stroll through the park “Jolly Holiday,” the robust showstopper “Step in Time,” a bubbly “Supercalifragilisticexpialidocious” at Mrs. Corry’s sweet shop and a wondrous “Let’s Go Fly a Kite” with the ensemble placed through the audience with red kites.

First seen in 2013 when the show was led by Muny fan favorites Jenny Powers and Rob McClure, this version is as enchanting, with Tartaglia’s penchant for puppetry giving an added ‘oomph.’

He has created another Muny moment with puppeteers swarming the stage with flocks of birds, produced by puppet designer Eric Wright of Puppet Kitchen International Inc. It’s a marvelous sight.

Tartaglia, such a bouncy personality as evident through his Muny performances (The Genie in “Aladdin,” The Cat in the Hat in “Seussical,” Hysterium in “A Funny Thing Happened on the Way to the Forum — St. Louis Theater Circle Award for Best Supporting Actor in a Musical in 2017), has brought a sunny outlook to his productions here.

The director of “Matilda” 2019, Annie” 2018, “The Wizard of Oz” 2016, “Disney’s Tarzan” in 2014 and “Shrek” 2013 is again inspired by the tasks at hand, no doubt influencing his creative choices.

Photo by Phillip Hamer

A crackerjack production team has delivered an attractive look and encouraged high spirits throughout, even with performers dealing with oppressive summer heat. Music Director Brad Haak and Choreographer Patrick O’Neill focused on peppy musical and dance numbers for fluid movement (with a high percentage of youngsters in the audience).

The sights — Paige Hathaway’s production design, Robin L. McGee’s costume design, Kelley Jordan’s wig design and Alex Basco Koch’s video designs are true to the 1910 time of Edwardian London, but with pizzazz.

It’s also nice to see such local treasures as Zoe Vonder Haar (as Mrs. Brill), Whit Reichert (as Admiral Boom/Bank Chairman), Jerry Vogel (as Park Keeper, Von Hussle, ensemble), Rich Pisarkiewicz (Policeman/ensemble), and Lynn Humphrey (Miss Lark/ensemble) back together on the Muny stage.

Does “Mary Poppins” have the same appeal to today’s youths like the movie did for my generation? Not sure if it is a home run as much for them as it is for adults. Nevertheless, the audience left humming a happy tune.

Photo by Phillip Hamer

The Muny presents the musical “Mary Poppins” July 5-13 at 8:15 pm. on the outdoor stage in Forest Park. For more information, visit

Cast photo by Philip Hamer

By Lynn Venhaus
This beautifully filmed sequel is as welcome as seeing old friends again now that we’ve been through a global pandemic. And as a merry follow-up film, “Downton Abbey – A New Era” couldn’t be more charming and delightful – and provide satisfactory story arcs for all major and minor characters.

Half the Crawley clan heads to the south of France to investigate the Dowager Countess’ (Maggie Smith) newest inheritance while the family’s new matriarch, Lady Mary (Michelle Dockery) stays home to oversee a movie being shot there (they need a new roof).

Only, it’s impossible to divulge plot points because of the big reveals throughout its two-hour runtime. The entire historical period drama, tinged with warm humor and trademark zingers from creator and writer Julian Fellowes, is one big spoiler alert.

That said, the two overlapping plots are deliciously engaging – a sojourn to the south of France to stay at a grand villa that has its own jaw-dropping backstory, and a glamorous Hollywood film crew taking over the august estate. It’s 1929, and they will roar headfirst into a new decade.

For fans, this is as enjoyable as opening presents on Christmas morning. And dare I say, even better than the first film, which continued where the series left off, updating the lives of the downstairs servants and the heirs of the Earl of Grantham.

Three years after the first film dealt with a royal visit from King George V and Queen Mary in 1927, and seven years after the hit TV drama ended its sixth season (2011-2015), award-winning run, the family and the servants are still in a flutter – only this time have a gift horse to speculate about, and stars in their eyes from the intrusion of movie people.

The melodrama gives the characters plenty to fret about and deal with, making them relatable to us commoners as power shifts and romances begin and deepen. Director Simon Curtis, who made the captivating “My Week with Marilyn,” nimbly weaves both plots together for a satisfactory narrative.

The addition of the film crew, who starts off producing a silent picture but must accommodate the growing popularity of ‘talkies,’ provides comical encounters and an engaging subplot for Lady Mary, with Michelle Dockery in classy form.

Hugh Dancy is earnest as smitten film director Jack Barber and a jaunty Dominic West is dashing as movie star Guy Dexter, while Laura Haddock does her best Jean Hagen as the Tinsel Town beauty Myrna Dalgleish whose crass voice needs an overhaul as does her uppity attitude. Shades of “Singin’ in the Rain”!

Maggie Smith, the two-time Oscar winner, owns the film as quipmeister Violet Crawley, effortlessly delivering her customary putdowns.

Just as the first film, “A New Era” is opulently crafted, with exquisite costume design by Anna Robbins and Maja Meschede and production design again by Donal Woods befitting a regal world of aristocratic wealth and position.

Andrew Dunn’s sumptuous cinematography keys in on the scenic splendor of the Mediterranean coast as well as effective shadows and light in the indoor movie making scenes. Composer John Lunn returns to accentuate every mood with swelling strings.

The real Highclere Castle in north Hampshire stands in for the Downton Abbey homestead, and still makes one swoon.

I’m ready for a third chapter, but if this is the end, what a fine swan song it is.

“Downtown Abbey: A New Era” is a 2022 historical drama directed by Simon Curtis and starring Maggie Smith, Hugh Bonneville, Michelle Dockery, Elizabeth McGovern, Hugh Dancy, Dominic West, Laura Haddock, Penelope Wilton and Imelda Stanton. It’s rated PG for some suggestive references, language,  and thematic elements and its runtime is 2 hours, 4 minutes. It is in theatres May 20. Lynn’s Grade A.