Review: Mary Poppins, Bristol Hippodrome – ‘Timeless and utterly magical’

Well, the easy thing to do would be to tell you straight-up that this production of Mary Poppins has all the wonder of a certain 34-letter word.

You know the word. And it’s totally true. But what a copout.

It deserves a little more.

From Down Under to Cherry Tree Lane, Australian star Stefanie Jones is utterly spellbinding as our titular hero, navigating the snappy sass and the angelic lifts with enduring aplomb. Jack Chambers brings equally astounding magnetism to Bert’s supporting stand. With pulsating presence and constant charm, Jones and Chambers carry P.L. Travers’ story into the 21st century via the minds of co-creator Cameron Mackintosh and the Disney theatrical group. The result? An all-singing, all-dancing bonanza that demands and rewards your attention at every turn.

Mary Poppins – photo: Matt Crockett

60 years on from the film, it’s a story that still oozes a timeless, dreamy quality. A touch of magic never goes amiss, and this one has it in absolute spades, in no small part thanks to the scintillating stagecraft. Bob Crowley’s scenery shifts smoothly and symmetrically when it wants to, but it’s the sublime details and boggling flourishes that truly ignite scenes. A kitchen descends into chaos and reforms with a Nanny’s whimsical wave, Poppins soars for famous airborne interludes, and Bert walks on walls. That’s all well and good, but a word to the wise: don’t even try to figure out the famed bottomless bag. A soft fixture pulled from that thing makes perfect sense; a fully formed mirror does not.

Richard Eyre’s airtight direction sets a tone of magic that the stellar cast happily maintains. Michael D. Xavier is Cleese-esque in voice and stature as George Banks — perhaps the character whose narrative arc is most pronounced of all. His slapstick comedy and accentuated English sensibility are matched by Rosemary Ashe and Ruairidh McDonald as bumbling household staff Mrs Brill and Robertson Ay. Of course, much of the sweetness and mischief hinges on the parts of Jane and Michael Banks. On this particular evening, Florence Swann and Charlie Donald shine bright. There’s even space for a wholesome little homecoming, with Adonis played by local actor Rhys Batten, who “fell in love with performing at the Bristol Hippodrome as a child”.

Photo: Matt Crockett

There’s immaculate costume design, pithy remarks, and prancing stone statues. There’s lessons in kindness and care in the mystic motifs of ‘Bird Woman’. There are carnivalesque cacophonies of colour and starlight serenades. What isn’t there? A dull moment. There you have it.

But what of the musical numbers?

Tripe.

Only joking. Obviously. The band is exemplary, as are the vocals.

Photo: Matt Crockett

A Spoonful of Sugar is sweetness of the purest form, matched only in its uplifting aura by Let’s Go Fly A Kite. Classics are classics for a reason, folks.

A handful of new songs by George Stiles and Anthony Drewe serve as seamless additions to the Shermans’ long-celebrated score. The stern and wishful ditty Precision and Order, for example, sets the tone for Poppins’ delightful disruption, whilst the closing number Anything Can Happen is as much a marvel as it is an empowering summary. There’s some serious weirdness, too — Playing The Game is a foreboding number rung out by animate, harrowing toys.

In recent weeks, plenty of publications have lent on the new song Practically Perfect to summarise the whole shebang. I get it. It’s a starry statement of intent, and Stefanie Jones delivers on the promise in every conceivable way, from her stance and mannerisms to her first-rate vocals. Mary’s still Poppin’.

Photo: Daniel Boud

On the contrary, Miss Andrew (aka ‘The Holy Terror’) is an awful character. But very much by design. On that front, Wendy Ferguson nails her cameo, with a staggering operatic turn on Brimstone and Treacle. Later, Bert leads the ensemble of baritone, brilliant fellow sweeps for Step In Time. The projected backdrop of a moody, sooty London sparkles nonetheless.

I can’t and I shan’t and I won’t swerve that 34-letter word. Why would I? Supercalifragilisticexpialidocious is, of course, a ginormous highlight. At Mrs. Corry’s parlour, the sways, dips, and gasps of the ensemble lend the whole astonishing number even more gravitas. From clustered bodies to frenetic, synchronised spelling, the choreography here is among the best I’ve ever seen on stage, so huge props to Matthew Bourne and Stephen Mear for that.

Huge props to everyone, frankly. Need a bit of merriment and magic in your life? Right on. Need some toe-tapping masterpieces and certified earworms? Yep. Need musical theatre at its dazzling best? Get yourself a ticket. It’s as much a must-see as I’ve ever seen.

Full cast, Mary Poppins – photo: Daniel Boud

Mary Poppins is at Bristol Hippodrome on November 4-30 at 7.30pm with additional Wednesday and weekend matinee shows (times vary; no shows Monday). Tickets are available at www.atgtickets.com.

Main photo: Daniel Boud

Read more:

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• Review: Come From Away, Bristol Hippodrome – ‘A vivid and wholesome piece with strong performances’
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