"When you do a legacy musical you've got a large part of your audience who are coming in with preconceived ideas," Mr Harvey confessed, "So what I think is most important is that you're truthful to the original text and how it was intended to be."
"At the end of the day people want to come along and see Mary Poppins fly in and they want to see her fix things in a magical sense and they want to see (big) things come out of bags and they want to see all those sorts of things."
"We're very true to the narrative and very true to the original Broadway and West End show."
"She's an outstanding young performer. She's an incredibly hard worker and somebody who I know is going to go on to do great things in the industry," Mr Harvey said, "When she came into the audition, she, at the end of the day gave us absolutely no choice but to cast her."
"She just owned the role right from the start. She came in with decisions and ideas. She came in with a very clear concept of who Mary was and what her journey is in the show right from the very first audition."
Short of some kind of natural or unnatural disaster or all the casting directors in the world developing terrible taste and foresight, in this reviewer's opinion we'll be seeing more of Ms Crick in musical theatre in the future.
"The story's all about George Banks. We were very, very keen to ensure that George's journey was very clear to the audience and the significant shift in George's life comes just because Mary Poppins comes to town," Mr Harvey said, "When he makes the shift the entire family changes and everybody is happy again. When casting it we were looking for somebody who could play serious as well as light."
"I wanted it to be like P.L. Travers' original books," Mr Harvey revealed, "I wanted to see it (the set) sketched in charcoal and then saturated with colour when Mary enters the room."
Set changes were instantaneous, and because the medium was digital, the set could include animation. This directorial decision added another level of magic to the show. It gave such wide scope for special effects to really meet the audience's expectations of the enchantress, Poppins. The timing of the lighting design worked seamlessly with the animated digital sets. Sound effects were very effective and non-intrusive.
"We don't normally have younger students or middle college students in our senior musical, so it was nice we were able to give him the opportunity and the show called for it," enthused Mr Harvey.