Notes from the director, Ross MacDonald:
It's been almost twelve months since I was offered the opportunity to come and work at BB&N. I'll admit, if you'd asked me back then what musical I'd have directed, it wouldn't have been “Mary Poppins.” How thankful I am for looking beyond the horizon of the possible repertoire I had in the back of my notebook.
Approaching a play is always an enjoyable challenge, and I try as best I can to encourage the company not to think about the end result but the process of creation. That mistakes will be made—in fact, have to be made—in order to explore how best to tell the story. It’s true there were times when a student’s quizzical look silently expressed "Mr. Mac, you are joking, I can't do that." But they did, and we either developed it or threw it away, but we tried it all the same.
There are always overarching goals, of course, and this production was no different. I wanted the students to enjoy the undertaking, be challenged, and be encouraged to not think just about the end result. I also believed the movement should work as an ensemble, not just a few dancers surrounded by static actors. A musical is the eruption of the soul an extension of the words, not just a spontaneous song plucked from nowhere with a dance unrelated to the story itself. Instead, the movement part of the production needed to stir up the thousands of memories I have of London: busy streets, the 'knees up' in corner pubs and rugby clubs, the public out and about through its many parks, with people pouring out of theaters, clubs and stadiums, caught up in one euphoria or another.
I also, helped enormously by the talented Ms. Brown, wanted to create a colorful group that represent the myriad of migrant people who have found themselves drawn to London. This migration of people include people from every corner of the globe, and closer to home, my Welsh grandparents and Scots father.
This play is first and foremost about a family on the verge of falling, rescued on one hand by the magic of Mary Poppins, but also by the love from within the Bankses themselves. Simultaneously it’s a story which deals with the wide disparity in wealth: one scene we are in the hallowed halls of a major banking system, the next thrust onto the steps of St Paul’s Cathedral with a matchstick girl earning a few pennies selling crumbs to feed the birds. It's about identity, what it means to be a proper British gentleman—and the crippling of dreams and authoritarian attitudes toward youth in the process. It's also a story which explores the rights and roles of women. What role is right for Winifred Banks, and who chooses that role? Sadly, the classic song 'Sister Suffragette' was removed from the stage musical by its authors, but I've done my best to introduce the pivotal movement of the early 20th century in a few other ways.
I want to express my sincere thanks to some very special people: the cast, crew, costume team and orchestra, and each student involved, including our robotics team. I am truly blessed to work with such remarkable group of young people. To the incomparable duo, Eugene Warner and Louise Brown, thank you for all your talent, your collaboration, and dare I say friendship. To Joe Horning, thank you for being an exceptional Musical Director, and for having so much patience patience. To Elliot Cless, thank you for all your hard work, your willingness to work round our schedule and to bring your massive talent to yet another production. Indeed, a massive thank you to all my colleagues in the Art department for helping me through this first year. Finally, the Banks children are not the only ones who have missed a father when he is working long hours: to Marin and Henry, I love you more than life itself, and that goes for Mrs. Mac, too.
