Beloved nanny Mary Poppins prides herself on being “practically perfect in every way”, and the Disney musical stage production does its best to live up to the claim. Filled with sparkling theatrical magic and old-fashioned charm, it’s a wonderful family night out that will please nostalgic adults and wide-eyed children in equal measure.
First mounted in 2004 in Bristol, Mary Poppins is based on the stories by P.L. Travers and the original Walt Disney film, telling the tale of children Jane and Michael Banks, whose wish for a new nanny summons the mysterious Poppins and sets off a chain of magical adventures. Co-created by Cameron Mackintosh and with a book by Julian Fellowes and direction by Richard Eyre, the musical includes most of the beloved Sherman brothers’ songs, with the addition of some new numbers by George Stiles and Anthony Drewe which sit comfortably alongside the classics.
The production has a no-expense-spared quality, with Bob Crowley’s lush period costumes and grand sets which transport the audience from the Banks’ house on Cherry Tree Lane to vivid flower-filled parks, city rooftops and even into the starlit sky. Magic abounds, from Mary Poppins’ bottomless bag to cakes which ice themselves and broken kitchen cupboards which can be fully reassembled with just a stern glance from the nanny.
Stefanie Jones returns to the role of Mary after starring in the Australian National Tour, and gives an assured performance that channels Julie Andrews and balances mischief with strictness, while showcasing an almost operatic soprano. Another Australian alumni, Jack Chambers, plays Bert with a casual charm and makes up for some underpowered vocals with his dancing.
He leads the best moment of the show, the chimney sweep extravaganza that is “Step in Time”. It’s set pieces like that and “Supercalifragilisticexpialidocious”, beautifully choreographed by Matthew Bourne and Stephen Mear to the original Sherman songs, where Mary Poppins shines most; they are the definition of old-school showstoppers and the ensemble are flawless.
The true heart of the show, though, lies with the Banks children, who on press night were played with boundless spirit and perfect vocals by Olive Harrison and Oliver Benson. Watching them vie for the attention of their distant father (a well-cast Michael D Xavier) is heartbreaking. It’s a relief when along with Poppins and their mother – Sarah-Marie Maxwell on press night, who gave an excellent and nuanced performance – finally help Mr Banks to understand what really has value in life.
Despite its many charms, Mary Poppins makes a few missteps. Its episodic nature with set pieces strung together by a light plot is to be expected, but its runtime at 2 hours and 45 minutes can drag and children in the audience were starting to struggle towards the end of both acts.
Most troubling though is the scene that ends Act One, where a scared and upset Jane and Michael, having been shouted at and pulled around by their volatile father, are taken upstairs by Mary Poppins, not to receive comfort, but to be given a harsh lesson on looking after their belongings and following orders. This lesson comes via a genuinely scary scene where their toys are brought to life and a massive Mr Punch towers over the stage with huge, threatening gloved hands. It’s a strangely sour note in an otherwise sweet production.
Terrifying toys aside, this is an impressive show which deserves its place in the roster of classic Disney musicals. Never veering into pantomime, it’s a whimsical, imaginative production with plenty of heart – and, of course, a spoonful of sugar.
Mary Poppins runs at Birmingham Hippodrome until 23 August, then tours
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