The curse of the jad scorpion is a mythical legend that has been passed down throughout generations. It is said that whoever encounters this cursed creature will be plagued with bad luck and misfortune for the rest of their lives. According to the legend, the jad scorpion is a rare and venomous species that inhabits the deserts of a faraway land. Its venom is said to be so potent that even a single sting can be fatal. However, it is not the physical harm caused by the scorpion that is feared, but rather the curse that follows. Those who have claimed to have encountered the jad scorpion describe a series of unfortunate events that occur shortly after their encounter.
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.
Those who have claimed to have encountered the jad scorpion describe a series of unfortunate events that occur shortly after their encounter. These events range from financial difficulties and health problems to broken relationships and personal tragedy. It is believed that the curse is a punishment for disturbing the scorpion's territory.
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.
To protect themselves from the curse, many people in the region take precautions when traveling through the desert. They wear protective clothing, carry amulets or talismans, and recite prayers or incantations to ward off the jad scorpion's curse. Some even avoid the desert altogether, fearing the repercussions that may come with encountering the cursed creature. While the curse of the jad scorpion remains a popular folklore, skepticism surrounds its existence. Some believe that the curse is merely a psychological effect caused by the fear and belief in the curse itself. Others argue that the curse may be a result of the harsh conditions of the desert rather than the actions of a supernatural creature. Nevertheless, the curse of the jad scorpion continues to captivate the imagination of those who hear the tale. Whether it is a cautionary tale or a testimony to the power of belief, the legend serves as a reminder to respect the unknown and be mindful of the consequences of our actions..
Reviews for "The Deadly Sting: Unraveling the Jadri Scorpion's Curse"
1. Jane - 2/5 stars - I really wanted to like "Curse of the Scorpion" but it fell flat for me. The plot was confusing and disjointed, and I found it hard to connect with any of the characters. The pacing was off, with certain scenes dragging on while others felt rushed. Overall, I was disappointed with this film and wouldn't recommend it to others.
2. Tom - 1/5 stars - "Curse of the Scorpion" is one of the worst movies I've seen in a long time. The acting was horrendous, and the dialogue felt forced and unnatural. The special effects were laughably bad and took away from any potential suspense or horror. I found myself constantly checking my phone, hoping for the movie to be over. Save your time and money and skip this one.
3. Emily - 2/5 stars - I had high hopes for "Curse of the Scorpion" considering the interesting premise, but unfortunately, it didn't live up to my expectations. The cinematography was dull and uninspiring, and the dialogue was filled with clichés. The scares were predictable and lacked any real tension. Overall, it felt like a missed opportunity for a potentially great horror film.
4. Michael - 2/5 stars - "Curse of the Scorpion" had all the elements to be a captivating horror movie, but it failed to deliver. The plot was convoluted and lacked cohesiveness, leaving me confused and disinterested. The performances were lackluster, and I found it difficult to invest in the characters or their fates. The film relied too heavily on jump scares, which became cliché and repetitive after a while. Overall, it was a disappointing experience.