Mrs. Corry's Shop in the Park
Scenic Design for Mary Poppins
Ethington Theater
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"How many of us grew up with Mary Poppins, could hum the songs, and wish we could snap our fingers to clean our toys" This is our director, speaking about how she wanted to bring that magic and wonder into this production. Yet also to keep the essence of the book and P. L. Travers’ Mary Poppins alive. The director was inspired by painting restorations and created a concept- of just that Restoration; Mary cleaning the 'grime' away. A visual representation of the joy we embrace as the Banks family is restored to happiness at the end of the Musical. The texture of the thick paint strokes that were used in the concept image were so inspiring for me. Enthusiastically, I proposed translating the 'painting restoration' idea into a tangible element for the set, aiming to imbue it with the same texture and depth. As a team we made the stage a realized representation of a Monet Victorian/ Georgian oil painting, using animation throughout to produce Mary Poppins's magic and spirit. While the set is heavily textured, flat surfaces are used, all to emulate that painting look. The characters looked alive in a piece of art, just like in the musical when our principal characters actually entered a painting for the song "Jolly Holiday." This artistic vision stands as a testament to the timeless allure of Mary Poppins and the collaborative magic we've woven into every brushstroke and note.
Pictures: Ralph Freso, Tim Trumble, and Alex Medina
Director: Cindi Calhoun Nov 2023
Original concept design sketches
Final Sketches
Ground Plans and Elevation sketches
This is a large show with a few locations, I wanted to ensure almost everything had a double use and was small enough to fit backstage, as Ethington is smaller. From a majority of the set flipping sides, windows turning to Murphy beds, and a folding Talking Shop, I made this set to function. It's important to me that a set works for the space and production more than its beauty or complexity.
The Parlor and Nursery switched from one to the other with a few quick switcheroos.
The Bank, Mr Bank's place of work
The director and I decided it was best to use the stage steps that outline the apron. I suggested that this would allow for more space overall and an inviting feeling for our audience. She agreed and even blocked the actors walking, dancing, and interacting on the steps and within the audience.
The Fireplace could switch between various scenes and accommodate individuals within it. This feature enabled the Bank's children and Mary Poppins to safely journey up the chimney and out. Additionally, it was sturdy enough to support four people on its outer edge. It could be relocated with multiple occupants inside the base, creating more stage space and facilitating smooth transitions between scenes.
Our smoke/smog dancers were a lovely addition to this rooftop scene
