Once upon a time in the first decades of the 20th century, there was an English household afflicted with the unhappier aspects of domestic relationships as observed in the recent Victorian era, making for a clan of lonely, artificial, hostile, rigidly-regimented malcontents. But then one day, there arrives a new nanny, equipped with a number of progressive ideas—families doing things together, children encouraged to be inquisitive, business conducted on humanitarian principles, respect for the lower social classes and, most important, everybody having a bit of fun on occasion. Soon parents, children and servants alike have learned how to be happy in each other's company.

That's the part of the story aimed at the adults—you know, what we've become since 1965. But just as, decades ago, the Disney film did everything movies did best to engage our imaginations, so does the Disney play extend itself to deliver all the magic offered by modern stage technology: kitchens that self-destruct and re-assemble themselves, friendly park sculptures and resentful nursery toys that come to life, origami mansions flanked by post-impressionist landscapes ( accomplished by a few dozen scrims and winches ) . And though the show-stopper is chimney-sweep Bert's spectacular dance-on-the-ceiling solo during the "Step In Time" number ( no, I'm not gonna tell you how he does it ) , playgoers in the balcony—i.e., the cheaper seats—are in for a special treat in the finale as Mary Poppins, herself, soars off the stage and right into their arms!

For diehard nostalgists, there are the familiar Sherman Brothers' songs, along with new material composed by George Stiles and Anthony Drewe—notably, a cameo turn for papa's former nanny, a terrifying martinet whom we are happy to see our "practically perfect" governess give the heave-ho. A contemporary touch is the characterization of shopkeeper Mrs. Corry as a West Indian with a vividly hued warehouse of accouterments for constructing multisyllabic words like—oh, you know the one—complete with hand-jive spelling you can learn during the encore. At the helm is Ashley Brown, in a consummate blend of candor, command and compassion, assisted by Gavin Lee, who wins us over immediately as the mercurial Bert.

Two hours 45 minutes is a long haul for theatergoers younger than 7, but otherwise, this visit from Mary Poppins is for all ages—and I mean all ages.