I was wavering. The musical closes tomorrow in London (and will then go on tour around the UK).
vschanoes told me I should go, when I asked her, and so I did. And I'm glad I did. (It's been a long time since I saw the movie, and even longer since I read the book, so I can't really compare very well.)
I loved the costuming. (Especially Mary's three marvellous, vividly-colored coats.) I loved the scenery. (The full house on stage, with a third story that lowers to the floor whenever there are scenes in the children's bedroom.) I loved the use of silhouette in group sequences. The rooftops dance sequence were well done. The singing was solid. I loved how tidy the plot was, with all small mentions of things having a payoff of some sort.
Things which were slightly less satisfying: No birds in the "Feed the Bird" sequence, when there were several other birds featured elsewhere in the musical. How slightly arbitrary the setting of "Supercalifragilisticexpialidocious" seemed, if entertaining. I was bothered that the son handed his father a telescope to examine it closer after he thought he'd seen a shooting star. (That's one slow shooting star.)
What I really loved more than anything else, however, was how perfect the evil nanny of Mr. Banks' childhood was. She was fabulous - strong, confident, good singer, good song and perfectly mundanely evil. I was only sorry her presence in the musical didn't last longer.
I loved the costuming. (Especially Mary's three marvellous, vividly-colored coats.) I loved the scenery. (The full house on stage, with a third story that lowers to the floor whenever there are scenes in the children's bedroom.) I loved the use of silhouette in group sequences. The rooftops dance sequence were well done. The singing was solid. I loved how tidy the plot was, with all small mentions of things having a payoff of some sort.
Things which were slightly less satisfying: No birds in the "Feed the Bird" sequence, when there were several other birds featured elsewhere in the musical. How slightly arbitrary the setting of "Supercalifragilisticexpialidocious" seemed, if entertaining. I was bothered that the son handed his father a telescope to examine it closer after he thought he'd seen a shooting star. (That's one slow shooting star.)
What I really loved more than anything else, however, was how perfect the evil nanny of Mr. Banks' childhood was. She was fabulous - strong, confident, good singer, good song and perfectly mundanely evil. I was only sorry her presence in the musical didn't last longer.
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I also thought the wirework was excellent -- among the best I've seen, really.
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I blame fatigue for managing to forget to mention one of the most amazing moments in the whole show. (Although I felt fairly neutrally otherwise about the dance sequence it was in the middle of. I loved the poised freeze of its finish, and I loved Bert's upsidedown tap dance. Otherwise - maybe I just don't appreciate tap as much as I could?)
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Damn. Derrida may have been on to something about the negation always telegraphing consent, because I always make that typo.
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