Review: Mary Poppins (Bristol Hippodrome / UK Tour)

Review by Seth Wilby

⭐️⭐️⭐️⭐️⭐️

Something is brewin’ and ‘bout to begin at the Bristol Hippodrome as Mary Poppins kicks off its brand new UK tour. Attempting to bring the magic of the original and the iconic songs to stage is quite a challenge, but could this production be practically perfect in every way, or would it be something quite atrocious?

Based on the books by P.L. Travers and subsequent Disney film, Mary Poppins returns to Bristol to begin a new UK tour, having had its world premiere there twenty years ago before productions in the West End, on Broadway and beyond, as we follow everyone’s favourite magical nanny in her attempts to bring the Banks family closer together.

It would be wrong to refer to this solely as an adaptation of the film. In fact, when development first began, Travers actually refused to let Cameron Mackintosh work with anyone from Disney. Now, the show is an amalgamation of both the book and film, but, don’t worry, all the classic songs by the Sherman brothers are still there, although sometimes in brand new scenes, or an extended form.

Elements of the story have also been changed- Mrs Banks is no longer a suffragette, but a former actress struggling to be a good wife and mother, and Mr Banks sees an extended backstory with the introduction of his old nanny, Miss Andrews, proving an explanation for much of Mr Banks’ character. All these new story elements work together excellently to form an emotionally-catalysed show with a great script by Julian Fellowes- elegantly humorous throughout, with the rapid succession of songs in the first act tied together enough to prevent it feeling like a variety show, although each scene is so joyous I doubt anyone would care if it was.

Each scene is exactly that- joyous. Richard Eyre has directed a fantastic show, with extremely captivating staging throughout. I challenge you not to leave with a smile on your face. The musical numbers are just delightful, with every element seemingly turned up to its limit. Jolly Holiday is a feast of colour, Step in Time a visual spectacle, and I thought the applause was never going to end after Supercalifragi…you get the idea. This production is the true definition of magical, with incredible tricks taking you by surprise round every corner (illusions are credited to Paul Kieve and Jim Steinmeyer), guaranteeing to leave you wondering just how they did that. Those final moments feel extraordinarily special, and I think there’s a part of it that brought out every audience member’s inner child and truly proved that anything can happen if you let it. This really is a timeless story, and it's a true testament to the writing and direction that the show remains such a gem today.

While the new songs may not be the ones you’re humming on the way out (because believe me, you will be left with this show firmly ingrained in your head), George Stiles and Antony Drewe have done an admirable job in their addition of several new songs that pay homage, in a way, to what established the originals as such classics. Practically Perfect is a favourite of mine, making for a strong introduction to Mary Poppins with some lyrical brilliance (“each virtue virtually knows no bounds”, for example) and Anything Can Happen is a fabulous finale number with a great moral behind it. Stiles and Drewe have also played a part in impeccably extending some of the original songs- Supercal is now a lively five minute number, complete with lots of spelling of the 34-letter word, which even gained its own encore. These songs pop thanks to choreography from Matthew Bourne and Stephen Mear, who take us through a whole host of genres, from tap dancing chimney sweeps to statues doing ballet in choreography that always feels fresh and energetic. Despite the fact that the show has so many large dance numbers, the choreography ensures that each remains as awe-inspiring as the first- where else can you watch someone tap dance on the ceiling?

Bob Crowley has crafted a great visual world. The costuming is reminiscent of the film, while bringing in a new sense of colour, and his set (adapted by Rosalind Coombes and Matt Kinley) resembles a doll's house in a rather clever choice when thinking about the show's wider themes on family and people’s role within that. Set pieces fly in and the London skyline floods out into the auditorium in a design that would make you think this show has been implanted at the venue for years, an impressive feat for a touring production. Projections are used refreshingly sparingly, with their subtle appearances well-designed by Luke Halls to bring a sense of realism to the piece. Tour Director James Powell has ensured that the stage never feels bare as we jump between locations, and the production’s grandiose nature is nothing short of stunning for the whole nearly-three hour duration.

Stefanie Jones is spectacular as the titular character, not only filling the shoes of some of the incredible people to have played the role over the years but well and truly making those shoes her own. Her Poppins feels nuanced, as if there’s an emotional sensibility deep within that she only occasionally lets out, a choice that delivers a particular poignancy during her final scenes with the Banks children. Having recently played the role in Australia, UK audiences are very lucky to experience Jones’ stellar performance. She brings a grace to the role, as well as an elegant voice, with each moment played to perfection, and all of Mary Poppins’ quirks left exactly as mystical as they should feel.

Also from the Australian production is Jack Chambers in a charming performance as Bert. Chambers displays strong comic timing, a great rapport with Jones and a superb connection with the audience- it really does feel like we’re in the palm of his hand at some points. Michael D. Xavier seems to channel his inner Basil Fawlty as George Banks in a performance that begins almost caricatural and then expands into a journey that’s wonderful to watch- Xavier’s performance seems sincere and heartfelt such that, even at his lowest points, the audience truly hopes for his growth. Lucie-Mae Sumner plays Mrs Banks in a performance that feels genuinely human-  the slower pace of her solo number Being Mrs Banks is actually quite refreshing to watch, as Sumner delicately explores a whole arc of emotions. The Banks family is completed by Jane and Michael, played at this performance by Florence Swann and Charlie Donald, in two almost scene-stealing performances, demonstrating a genuine skill to hold their own among such a strong adult cast.

This show is more than just the Banks family, though, and the whole ensemble of characters were marvellous. Rosemary Ashe and Ruairidh McDonald showed a strong chemistry as the Bank’s servants, Mrs Brill and Robertson Ay, Patti Boulaye’s Bird Woman brought a great touch to Feed The Birds and Wendy Ferguson had a terrifically exaggerated performance as foil to Poppins, Miss Andrew. In fact, the entire cast were magnificent- you could tell they were having the time of their lives on stage and this energy only radiated into the audience.

I’m sure this phrase will be overused in reviews, but Mary Poppins really was practically perfect in every way. The production brings such unadulterated joy to stage in the most delightful way, with impeccable staging and immaculate choreography to match. True magic has been translated to stage in what was a pleasure to watch, with almost nothing to fault in this marvellous adaptation. To sum it up in just one word, without sounding too precocious, I think we all know what I’d say.

Mary Poppins plays at Bristol Hippodrome until 30th November. Tickets available here

She then flies around the country until October 2025. Dates and tickets at www.marypoppins.co.uk 

Photos by Danny Kaan