Stage Review - Mary Poppins (Tacoma Musical Playhouse)

Stage Review - Mary Poppins
Presented By: Tacoma Musical Playhouse - Tacoma, WA
Show Run: July 11 - August 03, 2025
Date Reviewed: Saturday, July 12, 2025 (Opening Weekend)
Run Time: 2 Hours, 45 Minutes (including a 15-minute intermission)
Reviewed By: Greg Heilman

Anyone who knows me is well aware of how personal a show Mary Poppins is to me. The backstory of and universe in which this particular nanny exists is something that comprises a large part of my soul, especially its connection to Walt Disney and the company he founded. Having seen, and reviewed, the stage production of Mary Poppins a number of times, I’ll refer you to the previous pieces I’ve written if you’re interested in my feelings on the particular backstory about how the stage musical came to be, especially in the context of the Disney film and author PL Travers’ insistence that neither Walt nor his company have anything to do with bringing her most popular character to the stage. Being so close to the show, and having performed in it myself, puts me in a unique position when reviewing any new production. I tend to hold Mary Poppins to a higher standard perhaps than the average musical, and I can tend to be overly critical of shows that, for me, don’t work well, but I can also celebrate those that do. The 5th Avenue professional production of Disney and Cameron Mackintosh’s Mary Poppins was one that worked extremely well this past season, even considering the struggles that Mallory Cooney King had with her voice as the lead during previews and opening night, in which she had to “tag out” to an equally good understudy in Allison Standley for Act 2, and so does the current version being performed on stage at Tacoma Musical Playhouse, a presentation directed by Harry Turpin, featuring Meagan Castillo as the practically perfect nanny, and running through August 3.

The musical works because of what it isn’t just as much as it does for what it is. Of course, it is a musical with familiar songs, big ensemble numbers, and just a bit of stage magic. What it isn’t is a mirror copy of every other version of Mary Poppins that, pun intended, pops up on stage. The dance numbers are all here, “Jolly Holiday”, “Supercalifragilisticexpialidocious", “Let’s Go Fly a Kite”, and of course the coup de gras “Step in Time”. Harry has choreographed each of these to his usual standard of excellence, and this large cast performs the numbers with a good degree of flow and synchronicity, two things that are sometimes difficult to master at the same time. “Step in Time”, which is what many use as the litmus test for the big and bold numbers in a Poppins musical, is extremely good, showcasing the immense talent in the group, and while Bert tap dancing up the sides and along the top of the proscenium might be a bit gimmicky, and is optional as far as the show goes, it’s nice to see a non-professional theatre group take advantage of the tools at its disposal to bring a bit of professional-level magic to bear, and the fact that G Alvarado executes it very well doesn’t hurt. TMP’s Artistic Director Jon Douglas Rake has been teasing this part of the show all season, but that’s probably just part of the reason the audience was so excited on opening Saturday when Bert turned the show on its head. There are also the quiet numbers, “Feed the Birds” for one, and “Good for Nothing”, tender and sorrowful contrasts to the bigger numbers, or even the angry “Brimstone and Treakle”. I’m still not sure about “Playing the Game” and my inclination that it’s been shoehorned in, it doesn’t fit with the mood of the musical, nor does it fit with what we’ve all come to understand in how Mary Poppins works. That said, and regardless of my personal feelings on it, the number is well performed, which is what I’ve come to expect in shows that Harry directs and choreographs, a prepared cast and well executed musical numbers. Credit for the success in the music also must go to Brian Soushek, who is the show’s musical director as well as the conductor for the live orchestra, which does well in its accompaniment. Musically, the entire cast, leads, supporting players, and the ensemble are all confident, and only hold back to the extent that delivering anything above and beyond what they do would be too much. There’s a nice balance between the music and the actors as well, it’s all wonderfully done.

While I’m on the subject of the creative team, I will say I like the general simplicity of what Harry and the other set designers Jon Douglas Rake and Dennis Kurtz have implemented here. Set pieces are well appointed and they convert from the outside of Cherry Tree Lane to the drawing room to the children’s bedroom, and other pieces, like Mrs. Corry’s shop are also nicely presented, simple but effective, letting the actors do the lion’s share of the storytelling. John Chenault and Amy Silveria bring their expertise to the lights and sound here along with Ceili Caruso and the projection design, creating settings that may be minimal in physical design, but much larger in their visual and auditory aspects. All and all, it’s a nice design, nothing that is going to set Mary Poppins’ world on fire, but enough to provide a canvas on which the actors can paint the story.

And with the actors is where this musical truly excels. Starting with Meagan Castillo as Mary Poppins, it’s a cast that doesn’t necessarily play their roles as if they’d seen the movie and are doing their best to mimic Julie Andrews or Dick Van Dyke, no every lead and supporting actor brings a unique take on their assignments. Meagan’s Poppins comes with the right posture, a practically perfect accent, and a beautiful soprano that doesn’t miss, but what she brings to this particular performance is the subtlety of movement, changing the mood with a look, a side-eye to the children, and a bit of attitude that that implies her nanny may not be as spit spot as she would have everyone believe. There‘s also a nuance in Mary that skirts the line between confidence and arrogance, and Meagan walks it as well as I’ve seen, leaning to one side or the other where necessary. As much as Mary Poppins herself is so engrained in my heart, the song “Feed the Birds” may be even more so. It’s my favorite, it was Walt Disney’s favorite, and when it’s done well it deserves some attention. The first time I heard the version of the song from the musical, I remember thinking how disappointed I was to know that it wasn’t strictly Mary Poppins singing it, but rather it’s a duet between Mary and the “Bird Woman”. What Harry has done here by casting Holly Diaz as the woman who sells bags of seed for tuppence, though, is bring someone in who can act the part of someone much older than herself while maintaining a quality of singing that is on par with Meagan. My favorite song is also the best, and most heartfelt moment of this production, when Mary is teaching the Banks children about the true value of money.

G Alvarado is Bert and while most will say the highlight of his performance is that tap dancing on the ceiling part of “Step in Time”, mine is in how he plays the character. He’s not copying Dick Van Dyke, in fact quite the opposite. His Bert is expressive, a bit forlorn at times, but always positive. A fantastic singer and dancer to boot, Alvarado’s Bert is one of the most unique I’ve seen. Beyond Mary and Bert, there are plenty of highlights among the supporting cast and the ensemble. George and Winifred Banks (Alan Peery and Karen Early Evans) are both solid, Alan manages the emotional spectrum that George traverses very well, and Karen uses her beautiful voice to present Winifred as a woman trying to find her identity and her place within the Banks family. Their children, Jane and Michael (Sami Gallor and Gavin Weston on Saturday evening) are both quite good and play off each other and their parents with a skill that belies their age, while the family’s staff, Mrs. Brill (Amy Anderson) and Robertson Ay (Braeden Linkenback) add a bit of comic relief to the proceedings. Some other performance highlights include Britt Boyd as Mrs. Corry, who brings big energy and a stellar accent, Emily Riesser as “The Holy Terror” Miss Andrew, Sam Barker as Admiral Boom with just the right amount of crazy, and Justin McCathren as Neleus, featured in Jolly Holiday in Act 1. This entire team is good, and the ensemble behind them is cohesive and strong.

Whether Mary Poppins is something that you’ve enjoyed casually, or if it’s a vital part of your musical theatre background, the foundational stories told first by author PL Travers, then in the Disney film, and finally the stage musical have resonated for years. The latest version, on stage at Tacoma Musical Playhouse, directed by Harry Turpin, and featuring Meagan Castillo as everyone’s favorite nanny, presents all of the heart of the original stories, but with enough of a unique perspective to make it stand out among the other versions that have been on stage in the area. With a solid ensemble and a group of lead and supporting actors who act, sing, and dance with talent and precision, this production has everything going for it, nostalgia, familiar songs, and lively dance numbers, all coming together to create a fun theatre experience.

Mary Poppins runs on stage at Tacoma Musical Playhouse through August 3. For more information, including ticket availability and sales, visit https://www.tmp.org/.

Photo credit: Dennis Kurtz