Mary Poppins

There were many stars in this production but one was not able to take a bow. This was because they were thousands of kilometres away in Melbourne.

The set and costume team at CLOC have put together a chocolate box of delights. First the double storey foyer of the Banks home, which comprised a box that rolled onto the stage, could spin around and opened up. It included a hydraulic lift, used only once, to elevate Mary up the stairs to the first floor.

Just as clever was the single storey box that was used as the children’s nursery and kitchen. Lots of bits of stage magic were built in allowing cast to disappear when needed and leap out of toy cupboards.

Clever scenic backdrops, projections and lavish costumes added to the spectacle. There were only two small snags on opening night when a set got caught in the lights for a few moments.  This added to the drama much like watching a trapeze artist sway on a high wire.

Packemin Productions had a cast which did justice to the spectacle. The visiting professionals, Penny McNamee as Mary Poppins and Shaun Rennie as Bert, were charming. Sam Moran was very solid as George Banks (perhaps less flamboyant roles suit him more). Kate Maree Hoolihan showed plenty of heart as Winifred Banks.

But it was the non-professional members of the cast who provided the surprises.    Young Stella Barahona was a knock out as Jane Banks, ably assisted by Brendan Godwin as Michael. Jessica Kelly as Mrs Brill and Michael Curtain as Robertson Ay gave us plenty to laugh at downstairs in the servants’ quarters, whilst 17 year old Joe Howe as Neuleus (the dancing statue) stamped himself as a star of the future.

The choreography by Camilla Jakimowicz and music by Peter Hayward were also exceptional.

Yes Mary does fly, albeit with visible wires.

When Mary Poppins first toured Australia I had the good fortune to interview Richard M Sherman (original composer) and George Stiles and Anthony Drewe. They sat around the piano and explained how the musical evolved from the movie. During the afternoon tea Cameron Mackintosh dropped in a for a chat.

They spoke about blending the classic tunes from the original Walt Disney movie (Chim Chim-ee, Step in Time, Spoon Full of Sugar, Lets Go Fly a Kite) with some fresh material.

Having seen the production for a second time now I am not sure if all the new songs quite fit seemingly into the production. Of the new songs written for the recent revival, Practically Perfect  feels practically perfect for the show but the expanded spelling out of Supercalifragisticexpialidocious (did I spell that right) into a cheer squad extravaganza feels contrived.

But the punters loved it and as Mr Mackintosh knows the audience is always right.

David Spicer