P. L. Travers’ stories of Mary Poppins is known among many of today’s parents and grandparents generation. The last ten years have musical about super babysitter made great success in London and on Broadway, and now plays for the first time in Norway.
Folketeateret, who wants to be a Broadway in Norway, has obtained the rights to the musical and this time it feels actually a little whisper of Broadway over what they present.
Unruly children
SVEVE OVER TOWN: Title Role Owner Heidi Ruud Ellingsen is a almost perfect musical artist, and the show’s big star. Photo: John Andresen
Despite a somewhat dated and clichéd story. Family Banks’ naughty children – by the way a big nonsense, it’s the parents who are naughty – has worn out one nanny after another.
Father’s life consists only of work, mother – tja, mostly nothing , it seems like. However, as the father (Jan Martin Johnsen) says: We have a nanny, so you can “keep on with the things you will be doing.”
In other words, we meet cliché one overworked tunnel-father and a puzzled, kind but weak mother (Siren Jørgensen). Is it any wonder kids find a little foolishness to color life?
As if by magic dolls Mary Poppins up. A fontain of self – string, beautiful and with a heart for kids and all the opportunities they and life carries on.
With a snap and two she opens the world for them and show that anything is possible – statues can speak and dance, toys are alive, talk shops are of course when one needs to have a chat.
Something is emerging in children, but the main change is in the parents. Father must go through an ever so slight catharsis to find out the child he has in himself and through it become the father he really wants to be for their children. Mother KVIKNES also during the performance.
Old Brave language
FAMILIEKOS : Family Banks’ family life is stereotypical and old-fashioned, but still recognizable. Photo: John Andresen
For this Poppins’ simple and self-imposed assignment: She will get the families to see the value in being together, being family in good and bad days. That the two helpless parents actually manage to take care of their own children, and that, furthermore, is nice.
In a story where much experienced outdated, there are no sharp recognizable for a child: Parents who are not time or not will have time to them. Children – and parents – who want to be seen. And how easy it can be to do something about it.
The somewhat old-fashioned, but at times also charming universe contains a mansion in London, a hard working banker father and a homemaker mother, sweeps and poor people.
A life under the daily care of a nanny are few Norwegian children bestowed. In a society where men dominate, earn money and bosses, it’s nice that it comes an androgen-feminine babysitting and fix things.
Had Folketeateret had the courage to stir and poke a bit of gender roles, as experienced that stereotype until it boring, it had lifted the performance.
But the show’s biggest obstacle lies in the language, which is mature and full of words can not immediately expect that a child can understand.
Words layoff, anarchy, and irrational decision is typical of the text, and they are not just taken from a cen sings vocabulary. Admittedly sprites it up with a “serr” occasionally – but there is not a great help in.
Soar over the city
What Despite this gives a sensation of Broadway, is first and foremost the visual at the show. This is based on the production that was done in Reykjavik, Iceland in 2013, where Petr Hlousek stood behind the stage design.
On Folketeateret Maria Ducasse also helped to create the visual expression. And it is grand.
Large image projections audience gets to hover between parks, urban spaces and starry. The pictures create depth and makes the experience of stage space larger than it has ever been before on Folketeateret. It looks lavish out, and there are plenty too. But it’s almost magical.
In communication with the classic house-and-interiørscenografien created poppinsuniverset, a small world and a major. Shifts goes virtually painless (albeit a bit slow sometimes), and wow-effect is present.
In addition, the ensemble must be commended. Dense and good work, good vocals from most (always some exceptions, so there), good timing, outward energy.
A steppe numbers to remember. Costumes reminding the children that there are worlds they should scratch after discovering. Kites flown in fine scene photos, and Mary Poppins letter with her umbrella.
The orchestra is impeccable. It’s fun to see how people theater’s productions ever raise.
Perfect Ellingsen
Tonight big star is Mary Poppins himself, played by Heidi Ruud Ellingsen, a nearly perfect musical artist in Norway.
She sings precisely, plays precisely, dances precisely – practically perfect, to quote her character.
If she is not energy from the other actors around them , fixes her there himself. Albeit a little too high on themselves sometimes, shows the role still signs of weakness that makes her interesting.
Poppins does not follow his own heart, she lives to make others well. A source of a conflict we do not get explored more. But it’s there.
The Mary Poppins at Folketeateret could have needed, was a firming of the first act, it becomes a long and stagnant at times. Dramaturgical keeps the story so far, it experienced a bit too episodic to family show to be.
But it’s amazing what a opening visuals can do with a show.
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