The Condition Inspired by a vague radio ad on her drive home, an aging actress in need of quick cash submits herself to a mysterious medical study at a seemingly normal clinic. Unaware of what she’s being examined for, Ruthie answers increasingly cryptic and personal questions asked by a furtive, too friendly physician named Dr. Kick. Joshua Fardon’s psychological two-hander benefits from dynamic performances by Erin Diamond and Bob Fisher even as the script’s plot twists get progressively tangled. There’s too little variation in the back-and-forth, though, and even at under an hour, the clever, combative verbal sparring wears itself out before any real exploration of guilt or Munchausen syndrome bears real fruit. —Dan Jakes
Mary Poppins In the stage version of Disney’s 1964 movie musical (itself based on the stories of P.L. Travers), the titular nanny retains some of her no-nonsense approach to magic making. But instead of contrasting her particular brand of whimsy with heartless order (as in the film), book writer Julian Fellowes turns his attention to Poppins’s employers, the Banks family, and their conventional arc from estrangement to hugs. The very un-Disneyfied budget David E. Walters had to work with in his small-scale staging for NightBlue Performing Arts Company prevents dazzling special effects—though Kevin Bellie’s spirited choreography supplies some oomph, especially during the biggest production numbers. The main trouble with this slimmed-down take is there’s nothing to distract you from how empty and saccharine the show is. —Zac Thompson
