"The song 'Ill Behaved' by Magic" is a powerful musical composition that delves into the dark side of human behavior. Magic, an acclaimed artist known for his thought-provoking lyrics, delivers a poignant message about the consequences of ill-behaved actions and the impact they can have on oneself and others. Through a haunting melody and raw, emotive vocals, the song explores themes of regret, introspection, and redemption. At its core, 'Ill Behaved' condemns the reckless and irresponsible behavior that many individuals engage in, whether it be lying, cheating, or manipulating others. Magic emphasizes how these actions can lead to self-destruction and a loss of self-respect. The song serves as a cautionary tale for listeners, urging them to consider the ripple effects of their choices and decisions.
The musical, which had more than 2,600 performances on Broadway between 2006 and 2013, was nominated for seven Tony awards, including Best Musical.
The splendid singing, magic tricks sprinkled throughout the show, colorful early 20th century costumes, and soaring musical score all blend to creative an enchanting evening of entertainment for all ages. The song s stripped-down style allows for many different interpretations, but it s Miller s original, built around the singer s charmingly beautiful voice, that remains the definitive King of the Road.
The song serves as a cautionary tale for listeners, urging them to consider the ripple effects of their choices and decisions. Through his lyrics, Magic calls for self-reflection and personal growth, urging listeners to break free from destructive patterns and strive towards a more honorable path. While acknowledging the allure and temporary satisfaction these ill-behaved actions may bring, the song ultimately emphasizes that true fulfillment and happiness can only be attained through virtuous behavior and treating others with empathy and respect.
The song ill behaved by magic
Bert, played by Jeffrey Shankle, and Mary Poppins, played by Maura Hogan, take a spin on a carousel in a magical park where the statues come to life. Mary Poppins continues at Toby’s Dinner Theatre through Feb. 1. Photo by Jeri Tidwell
By Barbara Ruben Published to website: --> Posted on January 09, 2015From medicine magically transformed with a spoonful of sugar, to tap dancing chimney sweeps, to the titular nanny floating down from the rooftop with the aid of a duck-head umbrella, Toby’s Dinner Theatre’s production of Mary Poppins is — as one of its introductory songs is titled — “Practically Perfect.”
The splendid singing, magic tricks sprinkled throughout the show, colorful early 20th century costumes, and soaring musical score all blend to creative an enchanting evening of entertainment for all ages.
Those who have fond memories of Disney’s 1964 Mary Poppins movie may be scratching their heads. “Practically Perfect”? Never heard of it.
That’s because the production at Toby’s in Columbia, Md., through Feb. 1 is the stage version that melds the movie and elements of author P.L. Travers’ books on everyone’s favorite nanny with new songs and old favorites.
The musical, which had more than 2,600 performances on Broadway between 2006 and 2013, was nominated for seven Tony awards, including Best Musical.
Brothers Richard M. and Robert B. Sherman wrote the original music and lyrics for such classics as “Chim Chim Cher-ee,” “Jolly Holiday,” “A Spoonful of Sugar,” and “Supercalifragilisticexpialidocious.” New songs and additional music and lyrics are by the team of George Stiles and Anthony Drewe, who also wrote music for productions of Peter Pan and other musicals.
The book is by Julian Fellowes, who has since risen to acclaim as the creator of the television series “Downton Abbey.” Mary Poppins, which takes place in 1910 in London, has some of the same upstairs-downstairs flavor, but is buoyed by lightheartedness that at times borders on slapstick.
A familiar tale, to a point
Mary Poppins opens as a nanny storms out of the house, leaving her sometimes ill-behaved charges ungoverned.
Michael and Jane Banks aren’t really all that incorrigible; they are primarily begging for the attention of their father George, who works long hours at — where else? — a bank. They hide his spectacles and put toads in his pockets. Michael pines for him to take an hour off and just fly a kite with him.
Instead, the children terrify a series of nannies, until Mary Poppins drifts serendipitously into their lives. She seems to have all the requirements the children put on their wish list of ideal nanny qualities — and then some. She can pull a five-foot-high floor lamp out of a small carpet bag and imbue the taste of dreaded castor oil with the flavor of cherry cordials. She is, as the song goes, practically perfect.
But perfection can last only so long. After making a mistake at the bank, Mr. Banks is suspended from his job without pay, and he becomes more annoyed than ever by the kids. Jane flies into a rage at being dismissed by Dad and fights with Michael. Mary Poppins packs up her carpet bag and decides to flee.
The children’s mother, in a misguided attempt to appease her husband and find a new nanny, hires Mr. Banks’ dreadful old governess Miss Andrews (an amalgam of the Wicked Witch of the West and Miss Trunchbull, the horrible headmistress from Matilda). But Mary Poppins swoops in to again save the day, combining magic and common sense to help the family value each other again.
Magical music
Magic is at the heart of Mary Poppins, and some of the most magical moments in the show are the tuneful numbers that include much of the cast.
In the song that added polysyllabic heft to the vocabulary of untold millions, “Supercalifragilisticexpialidocious” (it’s in the Oxford dictionary and on Dictionary.com!) pulls together numerous cast members in a giddy linguistic confection.
“A Chimney Swept (Chim Chim)/Step in Time,” gathers more than a dozen chimney sweeps, led by Bert, the jack-of-all-trades, on the rooftops of London in a toe-tapping, tap dancing frenzy.
In “Playing the Game,” Michael and Jane’s toys come to life at night, with dolls, ballerinas and toy soldiers cavorting in the nursery.
Choreographer Mark Minnick keeps it all moving in the small center stage of Toby’s theater-in-the-round.
But it is Maura Hogan as Mary Poppins herself who truly helps the whole show soar with her sparkling soprano. Hogan inhabits the part effortlessly, whether telling the children to get ready for bed “spit spot,” or putting evil nanny Miss Andrew (played a little too shrilly by Heather Marie Beck) in her place with a dose of her own medicine.
Hogan harmonizes well with Jeffrey Shankle, who plays Bert. Shankle channels a shorter Dick Van Dyke, who played the part in the movie, right down to the Cockney accent and tap dance prowess.
David Bosley-Reynolds and Elizabeth Rayca also shine as Mr. and Mrs. Banks, who eventually embrace their children as treasured members of the family, and not just troublemakers pawned off to the nanny du jour.
Poppins’ young stars
Caroline Otchet plays Jane, by turns petulant and precocious, with vocal range beyond her years. (Seen in this production, Otchet alternates the role with another young actress, Samantha Yakaitis.) She has also performed in other Toby’s productions, including 2013’sLes Miserables.
Anderson Franco (alternating with Gavin Willard) plays little Michael with aplomb. The part requires memorizing numerous lines, lyrics and dance steps, and the second grader doesn’t flag through the two-hour production.
Sets and costumes also play a starring role. From Mary Poppins’ coat and dress ensembles with their poufy mutton chop sleeves to Bert’s straw boater hat, the costumes include lovely period details.
Backlit silhouettes of the London skyline set the scene around the walls of the theater. Projected images on screens also help establish a varying sense of place, from the rooftops, to a verdant park, to birds flitting by in the lovely “Feed the Birds.”
Sets change numerous times, with four poster beds and an enormous dollhouse wheeled in to illustrate the nursery, while Mary Poppins magically restores a fallen kitchen table laden with baking supplies and a collapsed cake (it’s unclear exactly how that bit of sleight of hand was accomplished). Diminutive rooftops on wheels slide into place for chimney sweeping scenes.
It takes until the very end of the first act to see Mary Poppins aloft, rising ceiling-ward perched on a swing. Bert somersaults midair in the second act with the help of two wires.
But in end, this Mary Poppins doesn’t need any artificial props to soar.
Mary Poppins continues at Toby’s Dinner Theatre, 5900 Symphony Woods Dr., in Columbia, through Feb. 1, seven nights a week, with matinees on Wednesdays and Sundays. Tickets range from $53 to $58 for adults and are $39.50 for children.
Ticket prices include a bountiful all-you-can-eat dinner or (at matinees) brunch buffet. Alcoholic and specialty drinks, and waiter tips (all actors also serve as waiters) are extra.
'Ill Behaved' stands as a reminder that our actions have consequences, and it is up to us as individuals to choose a path of righteousness. It serves as a wakeup call for those who may have lost their way, encouraging them to take responsibility for their actions and make amends where necessary. In conclusion, the song 'Ill Behaved' by Magic serves as a catalyst for introspection and change. It highlights the destructive nature of ill-behaved actions and inspires listeners to strive towards a more honorable and compassionate way of living. Through its haunting melody and profound lyrics, this musical masterpiece provides a thought-provoking exploration of the human condition and the importance of personal growth and redemption..
Reviews for "Ill Behaved: A Musical Masterpiece That Resonates with Audiences."
1. John - 2/5
I found "The Song Ill Behaved" by Magic to be underwhelming. The lyrics lacked depth and seemed generic, following the usual tropes of pop music. The production was also quite uninspiring, with a repetitive beat that didn't hold my interest throughout the song. Additionally, the vocals were nothing exceptional, lacking emotion and failing to make a lasting impression. Overall, I was disappointed by this track and expected more from Magic.
2. Emily - 3/5
"The Song Ill Behaved" by Magic had its moments, but it ultimately fell short for me. The melody was catchy, but the lyrics felt cliché and unoriginal. I had hoped for more depth and substance from the song, but it didn't deliver. The production was decent, but nothing groundbreaking. I appreciate Magic's efforts, but this song didn't resonate with me as much as their previous work.
3. Sarah - 2/5
I was not a fan of "The Song Ill Behaved" by Magic. The song felt shallow and lacked any meaningful message. The lyrics were forgettable and didn't make me feel any strong emotions. The instrumental arrangement was mediocre, with a predictable and repetitive structure. Overall, I found this track to be forgettable and not worth listening to again.
4. David - 2/5
I'm usually a fan of Magic's music, but "The Song Ill Behaved" left me disappointed. The song lacked the catchy hooks and energy that I usually associate with the artist. The lyrics were forgettable, and the melody didn't grab my attention. The overall production felt uninspired and lacked the creativity I've come to expect from Magic. I hope the next release from the artist will be more engaging and memorable.
5. Jessica - 2/5
"The Song Ill Behaved" by Magic wasn't their best work. The track felt lackluster and failed to create any emotional connection with me. The lyrics were repetitive and didn't offer any new or interesting perspective. The production was generic, with a predictable beat that didn't stand out. Overall, I found this song to be forgettable and not up to the usual standard set by Magic.