Viviana Theatre Company’s Mary Poppins Is Practically Perfect

by Megan Guy

I was excited for the opportunity to review a childhood favorite of mine, Mary Poppins. Having seen the stage musical in both high school and community theatre productions, I was already familiar with the score and many of its magical moments. This was my first time attending a Viviana Theatre Company production, so I was surprised to arrive at a church rather than a traditional theatre. The sanctuary itself, surrounded by beautiful stained-glass windows, created a unique atmosphere before the performance even began.

Audience members were handed glow sticks or light-up wristbands upon entering. While I wasn't given instructions for the glow stick, the wristbands illuminated during the finale, prompting me to activate mine and join in the celebration. A brief explanation beforehand would have helped audience members fully participate in this creative finale moment.

Directed, designed, and choreographed by Matthew English, with vocal direction by English and Rob Diton, Mary Poppins is an entertaining and heartfelt production that's perfect for families and anyone nostalgic for the beloved 1964 film starring Julie Andrews and Dick Van Dyke.

This production is double-cast for many roles. This review reflects the Wednesday, July 29 performance.

The show opens with Bert, played by Nye Calvert, singing the familiar “Chim Chim Cher-ee.” Calvert’s convincing Cockney accent immediately transported me back to childhood memories of watching Dick Van Dyke’s chimney sweep come to life on screen.

We soon meet the Banks family. Francis Evans portrays the stern George Banks, though early microphone issues occasionally made it difficult to hear his dialogue. Fortunately, this improved as the evening progressed. Kaitlin Brandstadter gave a heartfelt performance as Winifred Banks, bringing warmth and quiet strength to the role. Gracie and Killian Bense were delightful as Jane and Michael, with expressive facial acting and natural chemistry that made them completely believable as siblings. Megan Grandizio and Michael Grandizio provided plenty of comic relief as Mrs. Brill and Robertson Ay, bringing delightful energy to the Banks household.

Kelsey Weber made a memorable entrance as Mary Poppins. Her elegant blue coat was stunning, and the seemingly endless carpet bag quickly became one of my favorite props of the evening. Weber’s beautiful vocals and poised stage presence made her feel perfectly suited for the iconic role.

One of the evening’s visual highlights came during “Jolly Holiday,” featuring Gavin Huczko-Summerford as Neleus. The creative use of oversized inflatable horses to create a carousel effect was imaginative and brought extra whimsy to the number.

While the magical “snap” that accompanies many of Mary Poppins’ tricks could have been emphasized with a sound effect, the practical effects during “A Spoonful of Sugar” were especially memorable as shelves and dishes appeared to organize themselves by magic.

Morgan Devlin delivered one of the evening’s most beautiful vocal performances with “Feed the Birds,” capturing all the tenderness and emotion the song deserves.

The costume design truly shined during “Supercalifragilisticexpialidocious.” Alexa Weber was delightful as Mrs. Corry, leading the energetic ensemble through one of the production’s most colorful and joyful sequences. Another standout ensemble number was “Playing the Game.” Already one of my favorite scenes in the musical, it was elevated by strong choreography, energetic dancing, and the clever decision to have the toys enter through the audience, making everyone feel part of the nursery.

Act Two opened powerfully with Amanda Hoffman’s performance as the intimidating Miss Andrew in “Brimstone and Treacle.” Although microphone levels occasionally made her difficult to hear, her commanding voice and seamless duet with Kelsey Weber in Part Two created one of the strongest vocal moments of the evening.

Just when I thought the biggest production numbers were behind us, the cast launched into “Step in Time.” The exhilarating tap-dancing sequence was easily one of my favorite moments of the show. The energy was infectious, and I found myself wanting to clap along with every beat.

The finale, “Anything Can Happen (Part 2),” was an uplifting conclusion. Surrounded by stained glass as the cast filled the sanctuary in sparkling costumes beneath glowing lampposts, I felt immersed in the magic. The audience’s illuminated wristbands added another memorable visual touch to the ending.

Other memorable performances included Rosemary Haley as Katie Nanna, Corey Robovitsky as the Constable, NanciRose Smith as Miss Lark, Brynn Smith as Willoughby, Jamel Barton as the Park Keeper, Holly Weber as Queen Victoria, Sandy Lastowka as Miss Smythe, Mary Lastowka as Fannie/Bear, Melissa Samohod as Annie, Terell Ray as Valentine, and Hayley Howard as the Doll. Jacob Havens and Bec Smith were delightful as the Bank Clients, Von Hussler and Northbrook, with Smith delivering a particularly convincing Irish accent.

Tony Oriente deserves special recognition for portraying both Admiral Boom and the Bank Chairman so convincingly that I didn’t realize the same actor was playing both roles until later. I also have to mention the live dogs, particularly Violet as the London Doggie, who charmed the audience with impeccable behavior during her appearance.

The remainder of the talented ensemble—including Dorian Bean, Ali DeLeo, Noah Dulac, Amanda Hoffman, Kaylee Johnson, Keaton Hendrick-Kissling, Sarajane Sein, Melissa Waida, Milo Waida, Alexa Weber, Nicholas Renna, Rob Diton, Dawn Sheppard, Anastasia Patricia, Ivy Komito, Grace Albert, Joey Maffei, and Christina Concilio—helped create an energetic and joyful evening of theatre.

The production’s technical elements were among its strongest assets. Suspension effects for Mary Poppins, Bert, Miss Andrew, and even the kite in “Let’s Go Fly a Kite” were smooth and exciting, adding genuine theatrical magic throughout the performance. The scenery transitioned efficiently, while projected backdrops helped create locations without slowing the pacing. The lighting design was especially effective during the lightning sequence that brought the audience back to reality following “Jolly Holiday.”

Special recognition also goes to the technical team. The aerial effects, provided by On the Fly Productions and executed by the Fly Crew—Martin English, Alexa Weber, Ken Torres-Zickler, Dorian Bean, Evan Markley, Francis Evans, and Ali DeLeo—added another exciting layer to the production.

The beautifully designed scenery was built by Tom Weber and a dedicated construction team consisting of Russ Scott, John Concilio, Elaina Evans, Anne Grandizio, Mike Grandizio, John Harris, Evan Markley, Evan Gasparini, and Martin English. Stage Manager Zoridia Cox, along with Kaila Torres-Zickler, Anne Grandizio, and Alexa Weber, ensured scene changes remained silent, efficient, and seamless.

Lighting Operator John Harris and Lighting Support Mike Yarabinee created especially effective moments throughout the production, while Sound Designer Tom Weber navigated the acoustical challenges of the church venue admirably despite occasional microphone issues.

Understudy credits include Amanda Hoffman as the Mary Poppins understudy and Aimee Ferenz Renna as the Miss Andrew understudy.

There were occasional technical hiccups, including distorted microphones and moments when the orchestra overpowered the singers. Given the acoustical challenges of performing inside a church sanctuary, however, the overall sound quality remained commendable. The dedication of the cast, crew, and production team was evident throughout, and the scale of the production was impressive.

It was also refreshing to see such a wide range of ages represented both onstage and behind the scenes—a wonderful reminder of what community theatre is all about.

Overall, Viviana Theatre Company’s Mary Poppins was a joyful evening that brightened my week. While the stage occasionally felt crowded and there were a handful of forgotten lines, microphone issues, and off-key moments, none diminished the enthusiasm and heart on display. It was clear that everyone involved genuinely loved bringing this classic story to life, and that joy was contagious. I left smiling and would happily recommend this production to audiences of all ages looking for a magical summer night at the theatre.

For those planning to attend, the performance runs approximately two hours and 45 minutes, including a 20-minute intermission. Concessions included themed treats like “Spoonful of Sugar” cookies and “Feed the Birds” granola bags—a charming touch to an equally charming production. It runs through August 9, 2026 and tickets can be found at https://vivtix.ludus.com/index.php