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Mary Poppins
Date of Show:
Thursday, 29th July 2010 (All day)
Venue:
Her Majesty's Theatre
Australia’s Mary Poppins reaches for the heavens and gets the stars thrown in.
Separately, Cameron Mackintosh and Disney have produced some of the world’s biggest and most successful musicals. Together, their talent and experience align to create an astounding display of theatrical magic with more than a spoonful of heart. Whilst this blue chip pedigree has been more than enough for London and Broadway stagings, Australian audiences are treated to the additional luxury of an all-star cast in the supporting roles.
A musicalization of PT Travers’ stories, rather than of the movie, the stage musical contains no suffragettes, dancing penguins or tea parties on the ceiling. The ‘practically perfect’ Mary Poppins descends on the troubled Banks family of Cherry Tree Lane to restore harmony for the ill-tempered children, tense parents and long suffering servants.
Making a rare foray into musical theatre, acclaimed play and opera director Richard Eyre keeps the action brisk and humorous, with the colourful characters clearly delineated. There is genuine warmth and connection between the players and the emotional payoffs of the second act play out without a hint of mawkish sentimentality. Prolific choreographer Matthew Bourne takes a break from staging his own highly original shows to create, along with co-choreographer Steven Mears, dazzling dance routines. Highlights include a fresh spin on the spelling of that all purpose word Supercalifragilisticexpialidocious and an amazing tap number, Step in Time, which has a climactic stunt that must be seen to be believed.
Even at a somewhat reduced scale, Bob Crowley’s ingenious set designs are highly attractive, and glide along effortlessly to maintain the cinematic flow. The house at 17 Cherry Tree Lane loses some of its majesty without its hydraulic effects but the settings overall are plentiful and very appealing in their children’s book illustration style. The black and white Bank backdrop is a dizzying masterpiece. Costumes, also by Crowley, are gorgeous, particularly in the enchanting Jolly Holiday sequence, where a rainy day in the park becomes a technicolor dream.
Julian Fellowe’s deft book keeps exposition minimal and delicately balances child-like wonder, winking adult humour and weightier material, which keeps the whole affair clear of saccharine sweetness. The taut script contains barely a wasted word as almost every reference returns with a clever pay off.
Superb direction and design aside, the masterstroke of the production is the music. George Stiles and Anthony Drewe are at the peak of their craft, seamlessly supplementing the score with new songs while also expanding the original Sherman Brothers’ compositions. Jolly Holiday and Supercalifragilisticexpialidocious in particular benefit from this treatment. The score could be sung as a concert and still be supremely entertaining.
The combination of perfect diction and excellent sound design mean that every word is heard distinctly and precisely.
After scouring Australia for a new leading lady, the production team discovered that she was under their noses all along - at the Princess Theatre in the cast of Jersey Boys. Verity Hunt-Ballard makes a stunning ‘debut’, mastering all facets of the role. Mysterious and aloof, yet warm and endearing, Hunt-Ballard inhabits the physical characteristics of the role and sings with a crystal soprano. A star was definitely born (after years of hard work and training) on opening night.
Not the traditional title character protagonist, the action happens around Mary as she pulls the strings like a skillful puppeteer. The most significant journey of the narrative is that of George Banks. In the hands of highly experienced actor Philip Quast, George’s story is expertly realised and the key scenes in his transformation are quite moving. His rich, sonorous voice is a pleasure to hear as well. Despite being lumbered with the only dull song in the score, Marina Prior shines as Winifred Banks. Singing and acting strongly, Prior elevates the role with her star wattage.
Judi Connelli performs and projects to the back of the Grand Circle, clearly relishing her turn as nasty Miss Andrew. She also proves herself a good sport with a couple of cameos as a member of the company. Sally-Anne Upton is in her element as the exasperated Mrs Brill, landing every laugh with her perfect timing and inflection.
Hayley Edwards and Kurtis Papadinis, were outstanding as Jane and Michael Banks on opening night. Papadinis, in particular, was a cheeky delight.
In the plum role of chirpy cockney Bert, Matt Lee is a disappointment. Bland and too boyish, he clearly has the dancing talent but not the acting and singing skills needed, let alone the requisite charisma.
The hard working ensemble play a variety of roles and provide loads of support. Special mention to Mitch Fistrovic, a nimble Neleus, and Adam Murphy, a noble Northbrook.
Mary Poppins is first class musical entertainment and is an absolute must see for theatre fans of all ages. Mary Poppins plays at Her Majesty’s Theatre to April 2011. Bookings are through Ticketek.
State:
VIC