Review: Mary Poppins – Festival Theatre, Edinburgh

By Will Quinn Jan 26, 2025 2:35 AM

One would forgive Cameron Mackintosh and Disney if they toured their hit stage adaptation of Mary Poppins with a mechanically simpler set than those designed for multi-year residences in West End and Broadway theatres. To call Bob Crowley’s design ambitious is a serious understatement. Whilst stage magic isn’t dependent upon technological ingenuity, this show’s visuals, augmented by Luke Halls‘ gorgeous projections, and Paul Kieve & Jim Steinmeyer’s illusions, are jaw-droppingly impressive.

Anything less than a sympathetic, yet original take on the story coupled with blockbuster-worthy direction and choreography would look out of place. Thankfully, Julian Fellowes proves just the wit to adapt and synthesize P.L. Travers’ beloved literary heroine, and its equally adored cinematic adaptation. In the hands of a powerhouse pairing of director Richard Eyre and co-director and choreographer Matthew Bourne, the result is practically perfect, in every way (Sorry, not sorry).

The story itself remains anchored on Cherry Tree Lane, where abide George & Winifred Banks (Michael D. Xavier & Lucie-Mae Sumner), and their two children, Jane and Michael. With nannies prone to fleeing the premises at short notice, Mr Banks intends to find a disciplinarian tyrant to fill the role. Mary Poppins (Stefanie Jones) shows up instead, having responded to an advertisement written by the children, and previously committed to the fire by their father.

“n the hands of a powerhouse pairing of director Richard Eyre and co-director and choreographer Matthew Bourne, the result is practically perfect, in every way (Sorry, not sorry).”

Supremely self-confident, exquisitely tailored, and a font of practical wisdom, Mary swiftly sets the nanny-terrorizing children upon a unique and increasingly magical course of personal improvement.

Garbed in the Disney Poppins’ iconic red frock coat, white blouse and blue skirt, Jones is sensational in the title role. Armed with a thrilling soprano, light feet, and a superb ‘Spit spot!’, she avoids pastiche to make the character her own. Poised, equipped with a dry wit, and entirely comfortable with her practical perfection, she is never outshone on stage, no matter how brightly her co-stars glitter.

It’s just as well: for the story to work, the audience must believe in her power to alter hearts and minds, as well as the space-time continuum. Fortunately, Jones is utterly convincing.

So cue drab walks to the park erupting into tuneful technicolour extravaganzas complete with dancing statues, and kitchen catastrophes magically repaired via a ‘Spoonful of Sugar’. Supercharged by a superbly drilled ensemble of gifted singer-dancers, and backed by a powerhouse orchestra under Isaac McCullough, you can feel the abundant care and attention lavished on developing every scene. So expect a wonderfully ‘Jolly Holliday’ and an utterly showstopping ‘Supercalifragilisticexpialidocious’. Reworked and re-orchestrated to fit the epic scale of the musical, you’ll recognise them, but find them in novel settings and scaled to magnificent new heights.

Plus, with the story blending the 1964 movie and the books, there’s also a raft of new scenes complete with original songs from George Styles & Anthony Dreww on top of Sherman & Sherman’s celebrated film score. The pick of these is likely ‘Practically Perfect’, a superbly catchy, melodic number, making a fine theme song to accompany Mary through the show. If the newer tunes don’t quite hit the spine-tingling heights of ‘Let’s Go Fly a Kite’ or ‘ Feed the Birds’, neither do they seem out of place.

Perhaps the orchestra’s sheer power is a little too dominant in the mix from time to time, but given I was reviewing the show’s opening performance after Storm Eowyn cancelled the official press night, it’s possible that any sound balance issues were a one-off.

**Click to enlarge – all images by Danny Kaan**

Storywise, all of these adventures, familiar and new are, of course, only a means to an end. Along the way, the kids are learning to look beyond appearances by befriending jack-of-all-trades Bert (Jack Chambers) and discovering that positivity is far more rewarding than destructive naughtiness. Beyond this, and in contrast with her cinematic counterpart, they also find a Mary Poppins prepared to wield fear as an educational tool. So when they take out bad moods on their toys, the toys stage a rebellion complete with an ominous anthem ‘Playing the Game’. Stephen King would be proud.

Elsewhere, the musical spends time fleshing out the dysfunctional lives of the senior Banks. The remote Mr Banks’ professional facade hides many personal insecurities, whilst former actress Mrs Banks struggles to submit to life as a middle-class housewife. The former needs to reconnect with his heart; the latter to trust hers more. With their Poppins’ improved children as a catalyst, both embark on a journey of cardiac revolution more substantial than found in the movie.

All in all, then, there’s more substance to the drama underlying this musical extravaganza. For movie fans, the result is the best of both worlds, the nostalgic hit of numbers such as ‘Step in Time’, and a story which will surprise them. Funny, touching and thrilling, there’s just so much to enjoy.

Telling the tale alongside Jones is a cast with no obvious weak links. Chambers is a cracking song-and-dance man just right for the golden-hearted Bert, whilst Xavier and Sumner apply their ample talents to create believably flawed, but ultimately likeable characters we can root for. Alongside them, Rosemary Ashe turns in a memorably comic Mrs Brill to man the Banks’ household kitchen, whilst stage legend Patti Boulaye is a Bird Woman to remember. The rest of the supporting cast from Sharon Wattis as magical purveyor of sweeties and words, Mrs Corry, to a balletic Yujin Park as enlivened statue Neleus sing and dance their hearts out.

“Garbed in the Disney Poppins’ iconic red frock coat, white blouse and blue skirt, Jones is sensational in the title role.”

Under Eyre and Bourne, the maximum is squeezed from every character and every scene. The drama doesn’t just exist to link one huge set piece with another, but when they arrive, the songs get the VIP treatment, alongside choreographies that span from intimate and touching, to lush, full-bodied extravagance.

There’s ample comedy, and some nicely judged pathos woven through it all. Deadpan Poppins’ quips continually raise a laugh, as do the frequent and slickly carried-off bouts of slapstick. There’s no laughter, however, when George’s career takes a nose-dive leaving him frightened and vulnerable. This being a fabulous sort of tale, things do work out for the best, but only because he ultimately places his trust in humanity, and not clever accounting. This, the play suggests, isn’t just a nicer way of business, it can also be better for the bottom line. If you happen to live with a cryptocurrency enthusiast, you might take them along and see if they get the message…

Even if they don’t, they’ll still get to experience the show’s jaw-dropping finale. Again, practical effects don’t make a production work, but when integrated into an otherwise excellent show like this, the result is a rare theatrical experience. If it’s a sumptuous, heart-warming, and thrilling song-and-dance adventure you’re looking for, look no further than Mary Poppins.

All Images: Danny Kaan