JADAR

★★★★★

When Pamela Lyndon Travers wrote her first Mary Poppins novel in 1934, she never could have predicted the impact and longevity of her characters. Walt Disney’s 1964 movie musical adaptation, starring Julie Andrews and Dick Van Dyke, was a particular childhood favourite yet ironically despised by the author herself. She refused numerous stage adaptations before authorising Cameron Mackintosh’s vibrant interpretation first opened in 2004, promising to bring new life to her original stories while including the film’s heartwarming ear-worm melodies and the charismatic characterisations.

Despite my nostalgic predilections for the film and my high expectations having watched the musical as a child (and a segment at Big Night of Musicals earlier this year), the show surpassed all expectations. It reinvigorates the tale with unexpected twists, added and adapted story beats, a rearranged score with additional music, and phenomenal character development – all while paying homage to the beloved Disney classic.

Much of the story is fairly similar, still following Mary Poppins (Stefanie Jones) in Victorian London as she aids the Banks family through their troubles. Our mischievous young protagonists Jane (Katie Ryden) and Michael Banks (Charlie Donald) slowly take on Mary’s cheery disposition with the help of the playful chimney sweep, screever and lamplighter, Bert (Jack Chambers), and some magical rendezvous. Meanwhile their parents George (Michael D. Xavier) and Winifred (Lucie-Mae Sumner) wrestle with social expectations while trying repair the rift in their relationship.

Some adaptations to the story have a little less gravitas than the movie but allow new memorable and equally cathartic and impactful moments to shine while feeling fresh and unpredictable.

For instance, the jovial Uncle Albert is gone, replaced with the bubbly Mrs Corry (Sharon Wattis), the park sequence is shorter yet better paced, and Mr Banks has more redeemable moments, highlighted by a change to the tuppence plot and Patti Boulaye’s enchanting performance as the Bird Woman. Xavier’s Mr Banks is stern and precise, later melting into a lovable fool, and a terrified child around the dark operatic Child Catcher-esque Miss Andrews (Wendy Ferguson). Additionally, Mrs Banks is given a new lease of life, fleshing out her identity and marital struggles and gaining a poignant solo in ‘Being Mrs Banks’, rather than simplifying her as a ditsy suffragette.

The movie’s stellar line-up of Sherman Brothers songs are still perfectly intact with particularly thrilling renditions of ‘A Spoonful of Sugar’, ‘Chim-Chim Cher-Ee’, ‘Feed the birds’ and ‘Supercalifragilisticexpialidocious’, despite minor alterations and added verses here and there. Their songs are performed eloquently with gorgeous orchestration and goosebump-inducing harmonies.

The most significant musical changes come from George Stiles and Anthony Drewe, who wrote new numbers like ‘Cherry Tree Lane’, ‘Brimstone and Treacle’ and ‘Anything Can Happen’. While some songs don’t feel quite as catchy as the original score (perhaps unfamiliarity is more to blame), their music perfectly replicates their pomp and splendour, often adding extra dimension to storylines and emotions.

Matthew Bourne and Stephen Mear’s choreography heightened every performance with flair and pizazz, from the spelling dance at Mrs Corry’s, to the ‘Jolly Holiday’ statue ballet. However, the most impressive number (music and choreography wise) was undoubtedly ‘Step in Time’, with all the charm of the original and far more finesse. The number became a love-letter to musical theatre with an incredible group tap number, a glorious chorus line, and a jaw-dropping moment as a bedazzled Bert scales the walls and dances on the ceiling!? Never have I seen a show try something so bold and unexpected!

Indeed, the show thrived in creating so many of these memorable displays with its swift transitions between incredible set pieces and an astounding array of illusions and magical surprises. Bob Crowley’s whimsical costumes were astounding, and his set designs and Luke Halls projection effects were the perfect marriage between the physical and digital worlds, blending solid forms with fluid moving displays.

The Banks’ House uncoiled itself like a pop-up story book with hand-painted décor and a quaint fire and staircase. Other times, the house would rotate, its giant dollhouse structure being revealed as the kitchen is unveiled or the nursery attic and chimney tops drop down. The set seamlessly transforms into a gloomy park before Neleus (Yujin Park) and the statues come to life with bright pink and purple costumes and thick layers of blooming flowers to reflect Bert’s optimistic park painting.

Similarly, the shop is equally as extravagant with vivid oranges and yellows, layers of fabrics and frills and décor galore and displays of sweets and gingerbreads. In contrast, the bank is sleek and monochrome with a dramatic forced-perspective backdrop and imposing portraits and clocks.

Each set and number was brimming with mind-boggling illusions by Paul Kieve and Jim Steinmeyer. Whether it be Mary’s magical bag, self-sweeping brushes and self-fixing shelves, soaring kite effects or inexplicable puppets, audiences were constantly left in awe.

One particularly impressive sequence (which coincidentally terrified me as a kid) was the ‘Playing Games’ sequence which saw Valentine the clown (Billy Mahoney) crawl, slender fingers outstretched, from inside a dollhouse before several puppets as a giant singing Punch doll lifts the nursery set. It still sends shivers down my spine.

However, the show’s finale has to be one of the most impressive, impactful and nostalgic moments I’ve ever seen. The starry constellations rearrange before a giant version of Mary’s signature umbrella opens above while lamplighters swoop and weave with their illuminated sticks. A few interactions between the Banks family later, and Mary Poppins makes her final adieu, floating across the stage before gliding mere meters above the audience. Despite knowing it was coming I bawled with delight.

Stefanie Jones’ Mary Poppins is as sweet as spoonful of sugar with a delectable posture, accurate mannerisms, perfect pronunciation and soaring vocals. She had big shoes to fill, and yet her Mary was “the perfect nanny” with a blend of sharp wit and gentility, particularly shining in her delivery of iconic lines and her tender moments with Bert and the children. Jack Chambers is an enigmatic Bert with an electric stage presence. His charming smile and suave are a constant source of excitement and his endearing and energetic performance could give Dick Van Dyke’s Bert a run for his money!

Last but not least, Charlie Donald and Katie Ryder were the cutest Jane and Michael. Their initial mischief and social prejudices washed away with sweetness and maturity. It will never cease to amaze me how incredible child actors can be in such demanding roles.

Simply put, Mary Poppins truly is “practically perfect in every way”! Its magical mixture of endearing performances, awe-inspiring staging and visual effects, lively choreography, a dazzling passionate cast, and an unexpectedly fresh take on the Travers’ tale, make one truly breath-taking experience. They earned some of the longest rounds of applause between every number. The show is pure magic, feeding the audience’s nostalgia yet rejuvenating the charming family tale.