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Many a child has grown up reading the timeless novel The Secret Garden, written in 1911 by Frances Hodgson Burnett, though millennials may be more familiar with the much-loved 1993 movie of the same name. The thing that’s so special about this story, whether it’s devoured via book or film, is its magical ability to transport all who engage with it. There’s something whimsical and wonderfully mysterious about following the orphaned Mary Lennox as she discovers secrets in her cold new home and slowly unlocks a magic all her own.

It turns out that that same “Gothic novel” feel translates quite well to the stage, at least judging by Center Theater Company’s production. Featuring a script and lyrics by Marsha Norman and music by Lucy Simon, the musical iteration of The Secret Garden first premiered in 1991. However, it’s not oft-performed in the Triangle area, a fact that makes Center Theater Company’s production even more special and memorable. Though, to be fair, it doesn’t need any help in that department.

The story begins when contrary little Mary Lennox (Ada Manie) discovers that her parents have died in a cholera outbreak. But, even before the action begins, viewers are already immersed in Mary’s world. The novel’s pages are strung from a giant tree and Derrick Ivey’s floral set, reminiscent of a greenhouse and made up of transparent panes, looms in the background. By the time Mary is whisked from India to England, where she will live with her uncle Archibald Craven (Nick Malinowski), viewers are already immersed in the eerie-but-enchanting ambiance.

As Mary finds her footing in this strange and lonely new place, director and choreographer Lisette Glodowski utilizes every inch of the theatrical space. In her hands, the characters wind in and out of every available space like figures in a doll house. They pass the audience as they traverse the stairs, and, most gloriously of all, they move forward and backward behind the shifting panes of Ivey’s functional and beautiful set. As a result, Mary Lennox’s world becomes truly all-encompassing.

Inside this world, there’s a host of characters, including the fast-talking chambermaid Martha, portrayed by a sweet, sunny Taylor Cashion, and Martha’s brother, Dickon (Brady Bowman), who quickly becomes Mary’s part-time playmate. In this role, Bowman takes on a mystical air, akin to Dick Van Dyke in Mary Poppins. He’s equal parts charming and mysterious as he helps Mary find the key to the titular garden, and both he and Cashion handle their roles’ vocal demands with aplomb.

Aside from Martha and Dickon, Mary’s new life includes gardener Ben Weatherstaff, portrayed with heart and a winking kindness by an instantly likable David McKenas, and, of course, her new uncle Archibald and his brother Dr. Neville Craven, played in a smart, multi-faceted way by the always delightful Tedd Szeto. Archibald is a man who has been deeply wounded by the loss of his wife, Lily (Cassandra Clare), and Malinowski convincingly relays both his internal torment and the tiny spark of hope that still lives inside him. Malinowski also boasts a rich, booming singing voice that fills the room and conveys deep emotion.

Archibald’s pain is also made real through the onstage presence of his wife. Clare is glowingly beautiful in the role and exudes a presence that makes everyone realize how great the loss of Lily truly was. Clad all in white, she dances, sings, and reaches out to touch the people she can no longer touch as Norman’s clever script weaves the past and present into one smooth narrative. An intricate book like this one, however, requires careful handling, and Glodowski is up for the task. Her careful staging and the unique sense of movement, fitting of each character’s place in the storyline, allows for complete clarity.

At the heart of this multi-layered story is, of course, Mary herself, and it’s hard to imagine a more perfect casting choice than ten-year-old Ada Manie. Manie, like all of her castmates, handles the required British accent with skill, but that’s only the beginning. This young actress possesses an emotional depth and a can’t-look-away presence that enable her to carry every scene. Her piercing eyes, comedic timing, and complex emotional range imbue Mary with a rich inner life and elevate the story beyond a childhood tale. With her stoic-but-spunky demeanor, Manie’s Mary slowly wheedles her way into the viewer’s heart.

The production also includes another young performer, Wren Burn, who portrays Colin. To say too much about Colin would be to give away one of the story’s surprises, but Burn is both amusing and richly nuanced in his portrayal. Other standouts include Kelcy Choplin as the cold housekeeper Mrs. Medlock and Adalynn Alexander, who dances beautifully in her “Spirit” role.

Chandler Vance’s costume design firmly establishes the early 1900s time period in which all of these characters’ lives intertwine, and Darby Madewell’s lighting design, which alternates between eerily somber and intensely hopeful, always conveys the appropriate mood. When all these elements combine, the result is a mesmerizing, enveloping experience that achieves two of storytelling’s highest goals: to transport and transform.

This unforgettable production runs through March 15th and features two separate casts. Tickets are available here.

-Susie Potter