There’s always a bit of nervousness, isn’t there, when you’ve seen a big West End show and then it goes out on tour? Will it be as good? Will things be trimmed back? Will the magic survive the journey? I’ve seen that happen before – Bat Out of Hell and Spamalot, I’m looking at you. However, as I approached Milton Keynes Theatre on a cold and windy Wednesday evening (possibly coming in ‘from the east’ but without any mist) I had a feeling that something was brewin’ and about to begin…
Being a lifelong Disney fan, I’m well aware of the fascinating history between Walt Disney and P.L. Travers in bringing the iconic 1960s film to life. I’ve read all the Mary Poppins books too, albeit many years ago, and I’m now tempted to re-read them again. I first saw the stage musical back in 2005 in London, so I knew what to expect… but I was still curious to see how it landed 20 years later.
Tickets for this show were pricier than most recent musicals I’ve seen at the same venue, but once the performance began, it was obvious why. This is a big production. A large, talented cast and an impressive number of flying set pieces glide in and out effortlessly, giving the show a genuine West End mega-musical feel. It also made me realise how deep Milton Keynes stage is when you see 17 Cherry Tree Lane at the back, then opening like a doll’s house as it moves forward.
While the musical includes many of the beloved songs from the 1964 film, the plot leans more heavily into the original books. This includes characters like Mrs Andrew, George Banks’ terrifying childhood nanny, who adds a darker edge to the story. There are plenty of visual treats along the way such as the colourful and whimsical Jolly Holiday sequence, the clever illusions like Mary’s bottomless carpet bag, and some beautifully choreographed moments throughout which captures the spirit of both the books and the film.
One of the most visually stunning sequences comes in Act Two, when Mary, Jane, and Michael join Bert and the chimney sweeps on the rooftops of London. Step in Time is already a showstopper, but this production takes it up a level when Bert climbs the proscenium wall and tap-dances and sings upside down across the top of the stage before descending the other side. Yes, he’s on wires. No, that doesn’t make it any less thrilling, it’s a genuine ‘wow’ moment and really shows of the skills of the performer playing the role.
I also enjoyed the slightly terrifying scene where the bedroom toys come to life including a giant Mr Punch looming over the top of the house, and another routine that involved a giant parrot head umbrella.
Another highlight is the visit to Mrs Corry’s shop. It’s often used in TV performances, as it leads into the classic Supercalifragilisticexpialidocious. It’s the number you’ll be humming for days after, especially the letter-by-letter spelling section. After seeing it in London the first time round, I managed to recite it off by heart and spelling it out has now become one of my party pieces.
The most breathtaking and magical moment comes at the very end, and if you’ve seen even a snippet of the trailer video, you’ll know what’s coming so I don’t think it’s a spoiler. When Mary has completed her mission with the Banks family, she flies out over the audience… and not just the stalls. Everyone gets a glimpse as she rises high into the gods. It’s impossible not to feel a little emotional as she rises gracefully above the audience before needing to rush back to the stage just in time for the curtain call. It’s no wonder everyone was on their feet applauding by the end.
At the performance I saw, it was more or less a full house, I only spotted one or two empty seats, but everywhere else was filled with people of all ages, which just shows the appeal of a show like this.
Stefanie Jones (Mary) and Jack Chambers (Bert), both from the recent Australian production, slip into their roles effortlessly. They honour the characters without imitation, making them feel both classic and fresh. The rest of the ensemble is packed with West End talent, and it was lovely to see Lyn Paul (of 70’s group The New Seekers) in a small but memorable role as The Bird Lady, delivering a beautifully gentle rendition of Feed the Birds.
After a year packed with theatre visits, picking a favourite is tough, but this production is absolutely up there. It’s heartfelt, visually stunning, technically impressive and filled with genuine theatrical magic. It’s one that will stick with you long after the curtain has come down. I could happily watch it again and again.
In fact… you might say it’s practically perfect in every way.
