It is more or less impossible to review Mary Poppins without using the now time-worn phrase ‘Practically Perfect in Every Way’, but as hyperbolic as this may sound it pretty much sums it up.
Since its first outing in 2004, the stage adaptation of the Sherman Brothers’ Disney musical has been wowing repeat audiences across the globe, and Liverpool is proudly hosting the final date on this third UK tour at the mighty Empire Theatre.
Even the front cloth that greets the audience on arrival reeks of the quality that we are anticipating from a production by Cameron Mackintosh and Disney, but if you have not seen the show before, nothing can quite prepare you for what will be revealed onstage over the next 2¾ hours.
The story needs no retelling here, other than to remark that the tale of a mysterious nanny who arrives to transform the lives of a staid banker’s family is retold on the stage not just with as much love and wonder as the film version, but more besides. The author P. L. Travers, famously censorious over the Disney film, made sure even from beyond the grave that a live action retelling would be rather more ‘spit spot’.
First of all there is Bob Crowley’s astonishing set, which enables a slick and truly jawdropping reveal of layer upon layer of theatrical magic. Moving panels swipe back and forth like the hands of a conjurer, and the changing scenes come so fast that it is hard to believe our eyes. From a house in Cherry Tree Lane that opens like a pop-up book, to attic rooms and rooftop sequences, that seamlessly appear and vanish before us, this is a visual treat rarely matched in the theatre.
Then there is the impressive pit orchestra, whose rendering of the Sherman Bothers’ iconic score sweeps us along through the storytelling, filled with tunes so familiar it seems we have been humming them since we were born.
But of course the cast are the most important storytellers, and what has been assembled here is a top-flight ensemble. Stefanie Jones is the very embodiment of Mary Poppins. Of course the immaculate costumes play a big part, but Jones has every gesture honed to perfection – just look at the way she positions her feet in every static pose. She is surrounded by a cast who are all equal to her in the creation of their characters. Michael D Xavier and Lucie-May Sumner are George and Winifred Banks, Rosemary Ashe and Ruairidh McDonald are the trusty housekeeper and house-boy, and Lyn Paul is the only occasionally seen but pivotal Bird Lady, with her Tuppence a Bag crumbs.
Standout among these supporting roles are Sharon Wattis as the ebullient Miss Corrie and Wendy Ferguson as the ‘Holy Terror’ Miss Andrew, who has something about her of Katisha from The Mikado.
There are a team of children alternating the parts of Jane and Michael Banks, but on press night these roles were taken beautifully by Ivy-Rae Battams and Elliott Norrington.
Opposite Mary we have the critical role of Bert the chimney sweep. In this performance the principal Jack Chambers is indisposed and replaced by understudy Ben Culleton. Culleton is quite simply astonishing in the part, and aficionados might see quite a resemblance to the legendary Charlie Stemp in his masterful performance. This includes his apparently gravity-defying tap routine in the showstopper, ‘Step In Time’, which is one of the biggest ensemble production numbers in the show.
To call this production magical feels like a gross understatement. With illusions created by Paul Kieve and Jim Steinmeyer, you really do have to keep your eyes peeled not to miss any of the extraordinary stage effects, which come so thick and fast that the senses are left reeling.
Anyone looking forward to the show will no doubt have seen teasers of, and be eagerly awaiting, some of the big pieces of stage trickery that the show has become famous for. There’s a risk of spoilers here, so let’s just say that whatever you may be expecting, your mind is likely to be blown.
I used the term ‘jawdropping’ early in my review, and I have to come back to this as I reach a conclusion. It is rare that I actually find myself in the theatre with my mouth involuntarily hanging open and emitting gasps of astonishment, but I was still doing it as I left the theatre and headed for the train. It was clear from the more than usually excited buzz from the departing audience that this is a show that makes quite an impact.
Mary Poppins ends its current UK tour here at Liverpool Empire on 31st January and tickets for all performances are now becoming scarce, so if you don’t want to miss out on an unforgettable experience, you will need to hurry.
Star rating: 5 stars
Production photographs by Danny Kaan, featuring Stefanie Jones and members of the cast
This review was originally written for publication by Good News Liverpool
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