Can You Imagine That? (from Mary Poppins Returns) (arr. Audrey Snyder): 3-Part Mixed Choral Octavo

Audrey Snyder's arrangement captures the whimsical warmth of this song while keeping the part-writing accessible for mixed ensembles at the intermediate level. The orchestration choices from the film translate beautifully to voices, and the text setting feels natural throughout, allowing singers to focus on character and storytelling rather than wrestling with awkward phrasing.

The song radiates an infectious optimism wrapped in gentle humor. There's a playful invitation in the text that draws listeners in, and the melody has an easy charm that feels both sophisticated and approachable, like someone sharing a delightful secret with you over tea.

Directors building a contemporary concert that includes film repertoire will find this a genuinely musical choice rather than a novelty addition. It works for intermediate mixed choirs (high school, community ensembles, college non-majors) that want something current, singable, and engaging for an audience.

• Lean into the conversational quality of the opening phrases. This isn't a grand operatic moment; it's intimate and slightly conspiratorial, so encourage your singers to think of it as talking directly to an audience member rather than projecting outward.
• Balance the three parts carefully in sections where they move independently. The arrangement likely asks all three voices to contribute equally at different moments, so mark who has the main line at each section and rehearse those moments separately before blending.
• Shape the phrasing around the lyrical content rather than the barline. Songs about imagination thrive when the melody breathes naturally with the text, so help your ensemble hear where ideas complete and new ones begin.

Pair this with other contemporary film or musical theatre selections to create a cohesive set that appeals to audiences beyond the traditional concert choir demographic. It also serves as an excellent morale builder during rehearsal season, offering something current that singers genuinely want to perform.

• Singing contemporary film repertoire with theatrical expression
• Balancing three independent vocal lines while maintaining ensemble blend
• Text interpretation and character work within a choral context
• Phrasing shaped by language and lyrical content rather than metric structure