Festival Theatre opened its doors to the charming, enchanting and even “supercalifragilisticexpialidocious” world of Mary Poppins between 22nd January and 15th February. A triumphant musical-extravaganza, showcasing a vast breadth of talent from both cast and crew, audiences were enthralled as complex choreography, loveable characters, subtle gimmicks, and even tap-dancing on the ceiling (!) unfolded before us.
The proficiency of the performers shone; a vital element of the show’s brilliance. Stefanie Jones’ portrayal of Mary Poppins was dazzling yet nuanced: the mastery of her vocal abilities allowed daintiness and elegance at some moments, strength and durability at others, all whilst encompassing the sassiness and particularity of Julie Andrews’ original performance. Supported by Ben Culleton’s charismatic portrayal of Bert, whose expertise of tap-dancing (including upside down) was truly staggering, as well as performances by Michael D. Xavier as the Basil Fawlty-esque Mr. Banks, Lucie-Mae Sumner as the increasingly emboldened and heartfelt Mrs. Banks, and Matilda O’Sullivan and Jude Martin-Thomas’ radiant portrayals as Jane and Michael Banks.
The cross-collaboration of Choreographers Matthew Bourne and Stephen Mear, and the ensemble’s precision and meticulousness bolstered the show’s theatricality: this was particularly notable when the Bank was first revealed, and the ensemble stood in a tableau of mock-seriousness, as well as the organized chaos of ensemble movement during the visit to the Talk Shop, and the elegant dancing sequences of “Jolly Holiday”.
Other aspects of the production, namely the set-design and use of props, made Mary Poppins magical abilities really come to life: full-length brooms appeared out of small paper bags, a whole kitchen set fallen apart, was re-assembled with a few simple touches, and a whole ensemble member (a come-to-life version of Jane’s toy Valentine) climbed out of a children’s doll house. On top of this, the Banks’ house (set design by Bob Crowley) was itself an unfolding doll house, constantly reassembling to reveal various locations like the downstairs of the Banks’ home, the children’s bedroom, as well as the roof, where Mary and Bert meet.
The sheer prowess of theatrical skills attained by both cast and crew, enhanced by Richard Eyre’s direction, evoked on-stage magic, bringing this classic story to life before us, and enthralling audiences of all ages.
Image by Danny Kaan, courtesy of Festival Theatre