Performance Run: Wed 9 March - Sat 23 April 2016

Performance Reviewed: Tues 15 March (Press Night)

The timeless classic of Mary Poppins has enjoyed something of a renaissance over the course of the past decade or so in particular. A critically and commercially successful musical West End (and subsequent Broadway) adaptation of both the Disney film and original source novels opened in 2004, running for more than three years and nabbing it’s fair share of awards, acclaim and plaudits, before Hollywood once again revisited everyone’s favourite nanny in 2013 with both a 50th anniversary re-release and Blu-Ray, and a live action telling of the story-behind-the-story in the form of Emma Thompson and Tom Hanks biopic Saving Mr Banks. And with the love for all things Poppins clearly showing no sign of waning, it is little surprise to see the stage musical returning to UK theatres for this brand new 2015-16 tour. 

In fairness, that is an unfair, borderline cynical and calculated reasoning for what remains an irrepressible, utterly vibrant slice of sheer musical theatre joy, and a production which shows off every inch of it’s standing as the UK’s biggest current touring production. There is nary a trace of touring compromise or dilution here - the staging is spectacular, the cast are exquisite, and the entire thing bursts at every turn with colour, charm and vision. Every penny of Disney’s seemingly inexhaustible budget may be on show, but Mary Poppins has undoubtedly brought it’s unique brand of magic along with it, too.

Sitting somewhere between the beloved 1964 movie and the P.L. Travers books featuring the titular nanny, this is not as literal an adaptation of Uncle Walt’s classic musical as one may first suppose. The core premise remains intact - troublesome tearaway children Jane and Michael Banks (Georgie Hill and Jabez Cheeseman respectively in the performance reviewed) are the temperamental product of a fractured home where aloof, stressed father George (Milo Twomey) acts more akin to a sergeant major than anything resembling a loving, paternal figure. Into the household comes ‘practically perfect’ nanny Mary Poppins (Zizi Strallen), who, with a touch of song, a few games and a pinch of magic, as well as help from her loveable chimney sweep confidante Bert (Matt Lee) sets out to repair the Banks family and household. 

One could write in tremendous detail about the slew of changes made here from the film - in most places for the better - Mrs Banks (Rebecca Lock) in particular benefits from a more involved and active role compared to Glynis Johns’ more sidelined suffragette of the movie. However, where most will notice are in the understandable alteration to some of the major set pieces - more often than not to accommodate for sequences which were animated in the film. ‘Supercalifragilisticexpialidocious’ (I didn’t have to check how to type that… honest) is here transposed to the ‘conversation shop’ of the hilarious wordsmith Mrs Corry (Wreh-Asha Walton) rather than the animated racecourse of the film, and ‘A spoonful of Sugar’ is a remedy to a disastrous slapstick sequence in the kitchens of the Banks household. There are key sequences from the film you won’t find here - the ceiling tea party of ‘I love to laugh’ is nowhere to be found, and ‘Let’s Go Fly A Kite’ is given a considerably smaller part to play.

People going in expecting a slavish retread of the film, then, will likely find themselves a touch surprised at how much of it’s own entity this Mary Poppins musical is then - but that is in fact the greatest compliment that could be showered on the work Julian Fellowes, Matthew Bourne, Richard Eyes, Cameron Mackintosh and now James Powell have done. For everything that is taken or different from the film, Mary Poppins offers new nuances to characters, or dazzling original and equally enchanting set pieces that are as visually arresting and moving as anything Disney dreamt up back in the 60’s. The end of Act I - open Act II structure, for instance, sees a tyrannical anti-Poppins arrive in Mary’s stead after she goes on a temporary hiatus from the children when their misbehaving ways show no sign of abating. This villainous, Trunchbull-esque bullying harridan (played to scene-stealing bombastic perfection by Penelope Woodman) turns out to be part of the cause behind Mr Banks’ own demons and harshness, provides a terrific foil to Mary (her ‘brimstone, treacle and cod liver’ a suitably vile juxtaposition to Poppins’ ‘spoonful of sugar’) and is not found in any fashion in the film. It isn't all perfect - the film's more musical and simple denouement of the family hopping off together to fly a kite still registers stronger than the slightly over-indulgent pontificating here - but for the vast majority, the changes are equally compelling and effective.

Pushing the adaptation work aside though, one constant that threads together elements old and new alike is the superlative production values on display. This is lavish, big-scale musical production on a scale scarcely seen outside of London. Bob Crowley’s scenic and costume design and Natasha Katz’ lighting are never anything short of staggering across-the-board - from the fold-out Banks household to the more whimsical, imaginative set pieces which I shan’t spoil with detail, this is a show which looks absolutely sumptuous throughout, and when harmonised with the stellar cast and the truly faultless choreography by Matthew Bourne, Stephen Mear and Geoffrey Garrat, provides an incomparably high standard of attainment both technically and artistically throughout. Even smaller touches like the animatronic work which makes Mary’s magical household repairs possible, through to touches such as the practical effects of her bottomless bag, and of course the triumphant moment where she soars over the audiences heads clutching her signature parrot umbrella - the richness, magic and quality of the Mary Poppins experience is relentless in it’s generosity and excellence.

As mentioned, the cast assembled for the tour do stellar work. Zizi Strallen emanates the warmth, whimsy yet sternness of the character instantly, precise yet graceful in deportment, without fault in choreography and movement, and reminiscent enough in voice and manner to Julie Andrew’s Oscar-winning turn without being a base impersonation. It’s a huge role to take on for Strallen, and to say she excels in it would be an understatement we are sure Mary would not approve of. Australian theatre and dance personality Matt Lee is a supremely likeable and enjoyable Bert, with his commitment to ‘Step in Time’ one of the most awe-inspiring highlights of the show. Rebecca Lock, meanwhile, mines every ounce of comedic potential out of this new iteration of Mrs Banks, frequently hoovering up scenes with some fantastic physical comedy, ably abetted in many sequences by the equally-hilarious Wendy Ferguson as the Banks’ frustrated housekeeper Mrs Brill.

Other standouts amongst a uniformly-excellent company include the aforementioned Penelope Woodman who owns the beginning of Act II with her deplorable yet delicious Miss Andrew, Wreh-asha Walton proving a fantastic physical comedienne making her single-scene appearance as Mrs Corry a real highlight in the first half of the show, and it would be remiss to not point out what fantastic work the extremely talented young Georgie Hill and Jabez Cheeseman did with their wonderful turns as Jane and Michael. Both demonstrated real authenticity and range in their performances, and a bright future surely awaits both. Unfortunately, the only real weak link amongst the cast was Milo Twomey as George Banks, who lacked much of the conviction, depth and gravitas needed for a role around which, ultimately, the entire story pivots. It's the one place where it's almost impossible to compare back to the film - with the great David Tomlinson's performance still unmatched to this day.

Rolling out the ‘practically perfect’ plaudits for Mary Poppins may seem painfully obvious, but is also patently fitting. Not in recent memory has such a spectacular, expansive musical production managed to balance its individual parts as masterfully and buoyantly as Poppins does here - amazingly keeping an incredibly entertaining, magical and - where necessary - moving story ticking along in the process. It is a brave and confident adaptation - a whole new Mary Poppins experience that isn’t confined to brand recognition nor it’s past successes, but rather cherry (Tree Lane) picks the bits which work best in this re-imagining. This latest tour sacrifices nothing by dint of going on the road, and in fact most West End productions would struggle to compare with the spectacle and invention on display here. 

If you are a fan of the original books, Disney’s much-loved movie classic, or simply want to experience a delightful and spectacular evening of musical theatre that the whole family will adore, then Mary Poppins will be just your spoonful of sugar. Families of all ages will have a truly jolly holiday with Mary, so make sure you catch her in town before the wind changes!

 

RATING - ★★★★★

 

MARY POPPINS is running at the Birmingham Hippodrome from Wednesday 9 March to Saturday 23 April 2016.

CLICK HERE for more information on the show's run at the Hippodrome and to book your tickets!
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