It would seem that it is enough, and it is useless to tell something about a perfect ruler that we do not yet know. There is no child, even an adult, a little more than an adult, who has not experienced at least once with surprise the fantastic adventures of the most famous nanny ever to appear on the big screen, “practically perfect in every way.” Since 1964, Mary Poppins (the perfect Julie Andrews) has delighted audiences around the world with her British aplomb, dealing first with the rebellious (for the post-Victorian era) Banks children, and then with the children themselves as they grew up. then in a delightful sequel, this time credited to Emily Blunt. (Mary Poppins Returns) A contemporary fairy tale that cannot fail to captivate, from the screen to the theatre, generation after generation, the perfect combination of children’s literature and its transposition into the form of a play.
The musical version is a re-adaptation of the original stories by Pamela Lyndon Travers and, of course, the even more famous Walt Disney film that won “only” 5 Oscars out of 13 nominations in 1965, plus apparently all the rest in the form of “minor” awards. . The play is co-written by (Sir) Cameron Mackintosh and written by Julian Fellowes, two of the West End’s biggest names. The music was composed by Richard M. Sherman and Robert B. Sherman, with new songs and lyrics by George added for the stage adaptation. Stiles and Anthony Drew. The original production was once again directed by Mackintosh and Thomas Schumacher for Disney Theatrical Productions, the division of Disney that brought the great cartoon classics to the theater by bringing the same amazing atmosphere to the stage (let’s call one of them: “The Lion King”). Given the technical makeup of such a profile and the Disney brand in the first place, it’s hard not to expect a show that is at least “supercalifragilistically experiential.”
And this is true, given that for about two and a half hours (excluding the interval) we are witnessing great entertainment, the main recipient of which is mainly the pre-teen viewer, even if it is completely usable by slightly or much older companions. . The most amazing thing is the production, which manages to easily keep pace with the cinematic, turning into pure art the dancing statues (the stage picture in the park of the first act deserves applause for every second), wonderful and colorful costumes. (Maria Chiara Donato), backdrops bordering on perfection (Hella Monbrini and Silvi Silvestri) and special effects (Paolo Carta) that make everything completely magical and believable even in the eyes of the most demanding and attentive viewers: a little The girl sitting next to us asked her mother, how the nanny managed to remove hangers, plants and other items from her bag, but received no answer, only a wide smile. Ours too.
Wanting to find some aspect of diversity out of pure fuss, the comparison between Dick Van Dyke and Davide Sammartano shows that the American actor is doing well, also because of our childhood affection, while the setting of Julia Fabbri in the recitation is too lyrical, so how we perceived the sound of the orchestra as too inclined towards the sound of the band, but seeing/listening alone can also give the wrong impression. We appreciated Donatella Pandimiglio in the role – the old pigeon woman – played by Petula Clark in London, and in the sequel, Mrs. Angela Lansbury, who demonstrates that in such important productions there are no small roles. . Instead, we liked the duel with the “bad nanny” less, it reminded us of the magical duel between the sorceress and Merlin, but not so funny. In any case, aside from what may more or less please in the wake of comparisons, Mary Poppins the Musical is a very solid family show that stays true to its name and its brand. Children have fun, and adults too, perhaps even more. And we remind everyone that “with sugar” applause continues to go not down, but up, they have been doing this for 55 years and we have the impression that they will continue to do this for a long time, even when the wind changes.
MARY POPPINS MUSICAL
based on the stories of P. L. Travers and the film of the same name by Walt Disney.
Julian Fellows booklet
music and original lyrics by Richard M. Sherman and Robert B. Sherman
added new songs, music and lyrics by George Stiles and Anthony Drew
co-author Cameron McIntosh.
Originally produced by Cameron Mackintosh and Thomas Schumacher for Disney Theatrical Productions.
translation and adaptation of the libretto by Alice Mistroni
translation and adaptation of lyrics by Franco Travaglio
translation and adaptation of the lyrics of some songs from the film “Pertitas and Amurri”
with Giulia Fabbri, Davide Sammartano, Alessandro Parise, Alice Mistroni/Floriana Monici, Claudia Pignotti/Giulietta Rebegiani/Margherita Rebegiani, Riccardo Antonachi/Federico Coccia/Stefano De Luca, Antonella Morea, Roberto Tarsi, Lucrezia Soroddu Bianco, Andrea Spina, Donatella Pandimigli about Simona Patitucci
sets by Hella Monbrini and Silvia Silvestri
Maria Chiara Donato costumes
lights Valerio Tiberi
I play Armando Vertullo.
directed by Federico Bellone
choreography by Gillian Bruce
music director Simone Manfredini
this production is presented thanks to an agreement with Music Theater International (Europe).
