Disney and Cameron Mackintosh’s Mary Poppins: A Practically Perfect Night at the Theatre
'Mary Poppins: The Broadway Musical' soared onto the stage in November 2024 at the Twelfth Night Theatre, presented by Queensland Musical Theatre (QMT). Known for their tradition of staging a second annual show with kids involved, QMT selected this beloved family classic to showcase a lively blend of pint-sized performers and seasoned pros.
As a proud superfan of this musical and Disney film, I approached this production with both high expectations and excitement. Having seen the stage show many times, I was buzzing to see how a community production would handle such a grand piece. Bringing a production as colossal as Mary Poppins to life is no easy feat, but under the direction of Deian Ping, with Nicky Griffiths overseeing the music and Julianne Burke handling the choreography, QMT presented a delightful rendition brimming with nostalgia, talent, and heart.
Casting Magic
I was fortunate to attend an understudy performance with Emma Parkinson (pictured here as Queen Victoria) stepping into Mary Poppins' magical shoes, alongside Tia Godbold and Jake Allen as the mischief-makers, Jane and Michael Banks. Word on the street is that Georgia Mercer (pictured here as Mary), the principal Mary Poppins, was utterly marvellous in her portrayal, captivating audiences with her exceptional talent. However, Emma Parkinson flew in like a seasoned pro, seamlessly capturing Mary’s no-nonsense primness, quick wit, warmth, and underlying enigma. She handled the gigantic role with calm confidence and a divine vocal quality that shone in "Practically Perfect."
The Banks children, Tia Godbold as Jane (shared with Alessia Monteverde) and Jake Allen as Michael (shared with Isaac Wilson), were little professionals. Their stamina and acting skills were remarkable, particularly given that they appeared in nearly every scene. They committed to being “perfectly horrid” in the early scenes to provide a delightful contrast to their eventual transformation under Mary’s guidance. Jake’s funny and sugary vocals in “The Perfect Nanny” were a treat, while Tia’s feisty take on Jane nailed the character's bratty yet vulnerable nature. They both managed to present a mix of defiance and longing; their journey from mischievous children to more understanding individuals depicted beautifully in their performances.
Ray Gillmore truly embodied the character of Bert with a cockney accent and charm that captivated the audience from his opening moments "Wind's in the East, there's a mist coming in..." Ray was clearly in his element on stage, exhibiting a natural ease, incredible dancing skills, powerful vocal strength, and a friendly face that was always beaming with a warm smile. His easy rapport with the other characters was evident, as subtly guided them on their individual journeys and his friendship with Mary Poppins was endearing and believable; creating a magical connection on stage.
Jamie Taljaard portrayed Winifred Banks like a pro, sprinkling warmth all over the stage. She captured Winifred’s quiet strength with subtle emotion and sincerity, which was obvious even from my vantage point at the rear of the theatre. Her solo “Being Mrs. Banks” was a tender and heartfelt exploration of her character's life as a loving mother and supportive wife; a lovely counterpoint to David McLaughlin’s stern yet evolving portrayal of George Banks.
Typically known for his comedic roles, David’s portrayal of the serious Mr. Banks was a captivating change (although his goofy side does emerge in Act 2). His performance softened beautifully during the moving duet “A Man Has Dreams”, showing George’s vulnerability and growth in a genuine way. The chemistry between Taljaard and McLaughlin was palpable, illustrating the contrasting yet complementary nature of their characters.
Kathryn King delivered a deliciously menacing performance as Miss Andrew, with her formidable operatic voice, wild gaze, and ferocious presence on stage making her a memorable antagonist. The duet she performed with Mary Poppins in the haunting “Brimstone and Treacle” was chillingly brilliant. The impressive vocal harmonies of both actors created a mesmerising auditory experience as the playful undertones of Mary Poppins' voice juxtaposed with the harsh, pompous tone of Miss Andrew.
Supporting characters added touches of humour and heart throughout the production. Kellie Wilson brought hilariously over-the-top drama as the housekeeper Mrs Brill. Skye Schultz captivated everyone with their bumbling antics and exaggerated expressions as Robertson Ay, the clumsy butler. James Hogan's dual roles as Admiral Boom and the Bank Chairman exuded an authoritative presence, embodying pomp and circumstance. Kristie Rabbitt’s tender performance of “Feed the Birds” was a stunning moment in the production. The choral backing combined with the orchestral swell elevated the number to breathtaking heights.
Loretta Melit, leading "Supercal..." as Mrs. Corry, exhibited a confident dramatic flair that commanded attention. Jonathan Taufatofua stood out in his featured roles, leaving me wishing he had more time in the spotlight. Special mention must go to Peggoty and McGinty, the adorable dogs portraying Willoughby. Constanza Acevedo Burckhardt, handled the pups with exceptional care as Miss Lark. Whenever one of the tiny pups appeared on stage, their scene-stealing antics had us so entertained that we completely missed what anyone was saying - whoops!
A Feast for the Eyes and Ears
The set, designed by the duo of Gerard Livsey and Deian Ping, was a character in its own right. Constructed by an extensive team, the set unfolded like a giant storybook to transition between the Banks’ main room, nursery, and kitchen. The props and scenery offered a quintessentially British aesthetic while also serving as functional special effects. While the visual presentation was largely captivating, the scene transitions occasionally felt awkwardly long and frequent, momentarily breaking the flow of the performance. Despite this, the overall impact of the set design remained powerful, as it invited the audience to step into the world of the characters.
Deian Ping led a large team dedicated to bringing the characters to life through their costumes. The attire was not only era-appropriate, but they also embraced a whimsical quality. The sheer number of costumes created for the production was extensive and impressive! In the memorable "Jolly Holiday" sequence, the vibrant outfits worn by the characters were a feast for the eyes, featuring bright patterns and playful parasols that evoked a sense of joy and wonder. Even the actors portraying the statues had to be painted in shimmering silver and wear wigs, not to mention the chimney sweeps requiring soot. The logistics of managing such a vast array of costumes, from the initial fittings to the final performance, required a high level of organisation and teamwork, showcasing the incredible effort behind the scenes.
The lighting design by Tom Dodds featured an array of spectacular colours that were chosen to complement and enhance each scene. While the lighting was generally effective and contributed significantly to the overall aesthetic, there were moments when it faltered. Specifically, the use of backlighting, although intended to create dramatic effects (and stunning stage shots), often obscured the projected backdrops, rendering them virtually invisible to the audience. This oversight diminished the impact of the carefully crafted visuals that were meant to support the storytelling. Furthermore, the absence of follow spots proved to be a notable shortcoming, as it left the lead performers shrouded in darkness during pivotal moments. The sound operation managed by Josh Cathcart ensured that the balance between the orchestra and the vocal performances was effective, allowing the rich tapestry of sound to resonate beautifully throughout the venue.
The orchestra, under the magical baton of Nicky Griffiths, was a driving force behind the intricate and expressive score. Their rich arrangements took the whole production to new heights, especially during emotionally charged moments like “Chim Chim Cher-ee” when Mary departs, or the exhilarating “Let's Go Fly a Kite” when Mary returns. Those familiar with this stage musical know that it predominantly consists of musical numbers or underscoring, and the orchestra never faltered. The ensemble’s vocals were consistently strong, harmonising beautifully and enveloping the theatre in warmth and joy like an enormous musical hug.
Guided by Julianne Burke's choreography, each dancer embraced their roles with such passion. Almost every number in the production featured an imaginative array of prop work that added layers of visual interest; whether it was a parasol, a clipboard, a chimney sweep broom, a glowing star, or a kite soaring through the air. “Jolly Holiday” was a whimsical treat with its pastel colours, swirling skirts, and statues springing to life. “Supercalifragilisticexpialidocious” showcased the original, famously complex choreography, executed with precision and the boundless energy of a toddler on a sugar high. It was evident that the cast had dedicated countless hours to rehearsing and coordinating this intricate routine. “Step in Time,” led by tap captain Mike Lapot, was a true showstopper, brimming with thrilling tap sequences, prop work, and acrobatics. Sixteen chimney sweep dancers performed with remarkable stamina and enthusiasm, making it a clear audience favourite.
The children's ensemble lit up the stage in the big production numbers, where their youthful energy, colourful costumes, and sheer cuteness were the secret ingredient to the musical's success. The closing number, “Anything Can Happen,” was bittersweet and uplifting, leaving the audience with a sense of hope and wonder as Mary Poppins soared across the stage for a final farewell.
Final Thoughts
Despite its considerable length, the show’s pacing felt swift, a testament to the cast and crew’s efforts to keep the audience engaged. The exceptional photography captured by Stageshots at Pif Productions captured the magic beautifully, preserving the production’s best moments. For a community production tackling one of the more complex musicals in the repertoire, this production reminded us all that “Anything can happen if you let it.” Queensland Musical Theatre’s commitment to ambitious storytelling remains strong, and their rendition of 'Mary Poppins' was practically perfect in every way.
Photo Credit: Stageshots at Pif Productions
Comments