Ann Michels, Jay Soulen, Isabelle Erhart, and Mark King

The stage production, first mounted in London before a move to Broadway where it ran for over six years, used state of the art stage effects to enable Mary Poppins to fly, and her partner in magic Bert to literally walk up the side of the proscenium arch. Could the show work in the confines of Chanhassen Dinner Theatre, a venue that has presented many wonderful shows, but with far more modest capacity to house such razzle dazzle effects? Guess what? Chanhassen's production is supercalifragilisticexpialidocious, even without spectacle.

The title character of Mary Poppins is, of course, the perfect nanny (or, as she puts it in one of the songs written for the stage version, "Practically Perfect in Every Way"). She descends from the sky, travelling by umbrella, to tend to the Banks children Jane and Michael, whose wretched behavior has caused a stream of previous nannies to give notice. Mary bullies her way through an interview and quickly takes charge of the two rascals. Her crisp, highly structured manner is a cover for the magic and imagination that wins the children over in no time, or to borrow Mary's phrase, "spit spot."

While the title implies that this show would be about Mary Poppins, it really is about the Banks family: young Jane Banks, sour and cynical; younger brother Michael, brimming with mischief; George Banks, a banker whose devotion to his work leaves no time for family; and Winnifred Banks, a mother. A significant change in the plot between the movie and stage versions takes Mrs. Banks out of the house, instructed by her husband (and societal norms) to spend her time on charities and entertaining, leaving her children in the care of a nanny. In fact, Mrs. Banks is an actress who has given up the stage to devote herself to her family. She would rather have no nanny and raise her children herself, but strives to meet Mr. Banks' expectations. This is a big departure from the movie version, where Mrs. Banks is a firebrand suffragette, wrapped up in the cause and no more aware of her children than is Mr. Banks.

Even in the film version, Mary Poppins is really about opening Mr. Banks' eyes and heart, recognizing that by defining success in terms of position and salary, he is missing out on the greatest treasure of all, his children. The change in the Mrs. Banks role recasts the family dynamic so that on stage, Mary Poppins is the catalyst that not only changes Mr. Banks, but allows Mrs. Banks to bloom, find her inner strength, and take her place as a true partner to her husband.

Chanhassen has done its usual job of casting this show to a T. Ann Michels is just wonderful as Mary Poppins—prim, sharp, yet exuding love and a generous spirit. She sings beautifully, and moves with grace. Mark King plays Bert, who is a sort of narrator as well as Mary's accomplice in magic. He exudes sensitivity and joy, taking delight in each turn his life takes (a chalk artist one day, chimney sweep the next), sings with gusto, and dances up a storm, especially in the show–stopping "Step in Time." Keith Rice is a splendidly starchy Mr. Banks. He dutifully maintains his stern façade, but always with the faintest hint of struggle against a more tender nature. Janet Hays Trow is a lovely Mrs. Banks. She is flustered and self-deprecating at the start, trying to fit in to her social role, and believably blooms into a strong and certain woman.

At the performance I attended, Isabelle Erhart and Jay Soulen played Jane and Michael, respectively (alternating in those parts with Delaney Hunter and Carter Bannwarth). They were both completely wonderful, depicting scorn for their previous hard-bitten nannies, skepticism when Mary Poppins arrives, and bit by bit coming to love Mary and in the process see the possibilities for joy in everyday life. These are not a couple of children going through the paces while adults carry the show, but genuine actors giving performances that hold their own beside their adult castmates.

There are numerous supporting parts, each played with both conviction and a wink. In particular, Seri Johnson plays the housekeeper Mrs. Brill with great comic relish. In the very small role of the Bird Woman, Michelle Barber sings the moving "Feed the Birds" with enough depth to believably open a locked-in heart.

The big dance numbers—"Jolly Holiday," "Supercalifragilisticexpialidocious," and the aforementioned "Step in Time"—are splendidly choreographed, creating beautiful stage pictures and generating waves of happy energy. And while, unlike the movie, the stage Mary Poppins does not offer dancing penguins, rest assured that dance is used to ignite magic among the characters. The chorally robust "Let's Go Fly a Kite" lifts spirits along with kites. Several songs from the movie are omitted, but the best-remembered songs are all present. The show winds up with a lilting new anthem, "Anything Can Happen," and a few other new songs, such as "Cherry Tree Lane" help to establish settings and context.

Clusters of ladders form pyramids reaching to the ceiling to create trees and chimneys, with simple flats moved in and out when a drawing room, kitchen, children's nursery, or bank office are needed. The raised platform at the rear has a looming moon overlooking the proceedings, perfect for Mary to slip behind before she flies away. The costumes are spectacular, as if an exhibition of Edwardian garb had been swiped from the British Museum, then sprayed with bright colors to enhance the presence of magic. The sound quality and effects are especially well done to ensure a crisp experience in the expansive hall.

I admit to wondering about the logic of scheduling a show for children with an 8:00pm curtain time, but, having seen and thoroughly enjoyed this Mary Poppins, I can attest to the fact that it is truly a show for all ages. Yes, children will love it (and it may well warrant allowing for a late bedtime), but adults without a child in tow will not be disappointed—though it will help to be disposed toward a belief in the power of imagination and the primacy of love.

Mary Poppins continues through August 29, 2015, at the Chanhassen Dinner Theatre, 501 West 78th Street, Chanhassen, MN. Tickets including dinner and show: $62.00- $84.00. Show-only tickets are available no sooner than ten days prior to each performance. Student rush tickets may be purchased one hour prior to the performance with valid ID, subject to availability. For tickets call 952-934-1525, toll-free 1-800-362-3515, or go to www.chanhassendt.com.

Book by Julian Fellowes, based on the stories of P.L. Travers and the Walt Disney film; Original Music & Lyrics: Richard M. Sherman and Robert B. Sherman; New Songs and Additional Music and Lyrics by George Stiles and Anthony Drewe; Co-created by Cameron Mackintosh; Director: Michael Brandisi; Choreographer: Tamara Kangas Erickson; Music Director: Andrew Cooke; Set Designer: Nayna Ramey; Costume Designer: Rich Hamson; Lighting Designer and Production Coordinator: Sue Ellen Berger; Sound Designer: Russ Haynes; Wig Designer: Susan Magnuson; Production Stage Manager: Paula Post; Technical Director: Logan Jambik; Conductor: Andrew Cooke.

Cast: Carter Bannwarth (Michael Banks), Michelle Barber (Bird Woman), Scott Blackburn (Robertson Ay), David Anthony Brinkley (Admiral Boom, Bank Chairman), Serena Brook (Katie Nanna, Miss Smythe), Isabelle Erhart (Jane Banks), Susan Hofflander (Queen Victoria, Miss Andrew), Delaney Hunter (Jane Banks), Rico Heisler (Von Hussler), Andrew Hey (Northbrook), Seri Johnson (Mrs. Brill), Mark King (Bert), Ann Michels (Mary Poppins), Frank Joseph Moran (Valentine), Tinia Moulder (Miss Lark), Julianne Mundale (Mrs. Corry), Sean Nugent (Policeman), Keith Rice (George Banks), Thomas Schumacher (Park Keeper), Jay Soulen (Michael Banks), Jon Michael Stiff (Neleus), Janet Hayes Trow (Winifred Banks),

Ensemble: Tommy Benson, Serena Brook, Jessica Fredrickson, Rico Heisler, Andrew Hey, Emily King, Danny McHugh, Julianne Mundale, Sean Nugent, Laura Rudolph, Thomas Schumacher, Jon Michael Stiff, Brandyn Tapio, Maura White.

Photo: Heidi Bohnenkamp

- Arthur Dorman

Also see the season schedule for the Minneapolis - St. Paul region