Mary Poppins
Based on the 1964 film and the much-loved book series by Australian born P. L. Travers, Mary Poppins is considered Walt Disney's crowning achievement and was the only Disney film to earn a Best Picture nomination during his lifetime. Julie Andrews' Oscar winning portrayal of Mary and Dick Van Dyke's magnetic charm as Bert, have made them household names among children of all ages for over sixty years. In 2004, celebrated musical theatre producer Cameron Mackintosh debuted the stage adaptation featuring new songs, choreography, and a revised book by Julian Fellowes, the writer of Downton Abbey. Whilst preserving the magic of the original film, the stage show delves deeper into the characters, highlighting that determination and strength in adversity can be overcome with the support of family and friends.
Renowned for their shows of exceptional quality, the Warrnambool Theatre Company has outdone itself once again! It's remarkable to think that the cast, orchestra, crew, and creative team are mostly amateurs, considering the exceptional quality of this production. Despite Warrnambool being a small city in Victoria with an estimated
population of 35,000, this theatre company rivals the larger, higher-budget productions seen in Melbourne. Even with the AFL Grand Final posing a significant deterrent to attending shows on opening weekend, the overwhelming support from the broader community is evident, with performances nearly selling out!
The production exudes the comfort of a warm hug, offering an emotional journey that leaves you humming with joy. Never did it cross my mind that I was viewing a flashy Disney spectacle, nor did I draw parallels between the actress portraying Mary Poppins and Julie Andrews. The show retains an intimate, heartfelt, homegrown quality of a musical. The innovative approach and interpretation by first-time WTC Director Rachel Pitt-Lancaster, assisted by Millicent Lee, seamlessly blends engaging narratives, outstanding vocal performances, exceptional choreography, exquisite costumes, and stunning visual elements. This fusion creates a theatrical experience that thoroughly pleases 'in a most delightful way!'
The highly detailed, original sets created by Lyle Russell and the Director take us back to the early 20th century Edwardian-era London. The scene changes come thick and fast! Whether it be Cherry Tree Lane, the Banks' household (including the parlor, kitchen and children's nursery), the park, the Fidelity Fiduciary Bank, Mrs Corry's Conversation Shop, or the rooftops of London, there's constantly something colourful and fantastical to be amazed at! Remarkably, there are no LED screens or projections - all of this is accomplished using traditional sets, props, scrims, flys and exquisitely painted backdrops. The story contains several magical surprises, but I'll refrain from revealing any spoilers! The Banks' residence is a pivotal set that mirrors elements of the dollhouse in the children's nursery. The furniture featured in the production is classy, reflecting the period's style with bergère leather chairs, chaise lounges, and intricately designed wooden desks, hall stands, fireplaces, and bank teller desks. Hand-crafted puppets also feature in various scenes, including life-size pigeons during the 'Feed the Birds' sequence and a mischievous dog that shows up whenever Miss Lark steps onto the stage. With so much activity in every scene, it's hard to decide where to look first! The vast scale and complexity of the sets and props required for this production is astonishing! Hats off to Prop Designer Claire Norman and her team for their detailed work in ensuring everything comes together seamlessly.
Costume Designer and Coordinator Janet Punch has tirelessly crafted a visual feast, creating unique costumes that blend imaginative flair with historical accuracy. Particular highlights are Mary's vibrant red ensemble, with its fitted bodice, flared skirt, high collar, white gloves and her iconic 'parrot's head' umbrella. Mrs Corry's costume with its wild colours, tutu, frills, orange hair and hoops (adorned with letters of the alphabet) is delightfully wacky – perfectly capturing her whimsical and enchanting character. From the mythological statues adorning the park to the visual spectacle of the chorus performing 'Jolly Holiday' (along with a bevy of cute penguin clad waiting staff), from the playful nature of 'Supercalifragilisticexpialidocious', the exuberant dance of the chimney sweeps in 'Step in Time' to the stunning finale, the costumes are one of the many reasons this show is absolutely brilliant! Congratulations to the Costume Team who have worked a treat creating dozens of extraordinary costumes.
The choreography by Eloise Simpson (assisted by dance captains Amelie Gleeson, Arwen Bounds and Jermaine Ferguson) is stunning! Whether it's character-driven movement, the innovative use of props, storytelling through dance, or the variety of dance styles, the choreography is not only technically impressive but also deeply intertwined with the story, augmenting the magical experience for the audience. Miss Simpson says that getting to choreograph 'Step in Time' has been a highlight of her career thus far. This number is so complex and includes the entire ensemble filling the stage. The sight of the somewhat grimy chimney sweeps, in their tattered vests and hats, dancing with their brooms while bounding across the stage — and even atop the rooftops of London — is, in my opinion, the pinnacle of the performance and warrants a standing ovation for its sheer brilliance! Other highlights include 'Jolly Holiday', 'Precision and Order', 'Supercalifragilisticexpialidocious', 'Playing the Game', 'Let's Go Fly a Kite' and 'Anything Can Happen finale'. The entire cast has worked so hard and it has paid off in dividends.
Musical Director Dean Mulholland, along with assistant Maria Carras-Kerr, have showcased the company's musical and vocal strengths. The achievement is all the more remarkable considering the show's intricacy and the challenges associated with coordinating a 17-piece orchestra and almost 50 performers on stage. Under Mulholland's adept leadership, the musicians have skillfully mastered complex orchestrations across various genres with remarkable success, deserving of high praise! Carras-Kerr has dedicated herself to drawing out the finest vocal performances from both the soloists and the chorus, mastering complex harmonies in the process. The musical and vocal demands of this show are formidable, but with 'precision and
order' and countless hours of rehearsal, the final performance is 'practically perfect'.
Due to the large cast, it was decided to alternate certain roles, giving more actors the chance to stand out as lead characters. I had the fortune of attending the show twice, and I must express that both casts were equally skilled, captivating, brought a unique interpretation to their roles, and were exceptionally well-prepared. Unfortunately, Ali McLaren was too ill to play Mary on the opening night, but everyone is hopeful that 'with a spoonful of sugar' to help 'the medicine go down,' she will be able to take the stage later in the week.
Every role in this production has been expertly assigned, and the alternate cast members are equally impressive! The Banks family are Matt Baker (George), Maja Pearson (Winifred) with Paddy McKane, Lily Cheeseman, Ollie Duffy and Henry Ezzy playing the children. With more than 40 years treading the boards, Matt Baker embodies George Banks to a fault. His adept performance captures Mr. Banks’ strict and practical nature in the songs ‘Cherry Tree Lane’ and ‘Precision and Order.’ However, it is his heartfelt interpretation of ‘A Man Has Dreams’ that forges a profound emotional connection with the audience, ultimately leading his character to appreciate the importance of human relationships over material possessions. Maja Pearson is Winifred Banks, the former stage actress who struggles to fit into her role as a wife and mother within the confines of Edwardian society. Pearson’s portrayal of the character is well-rounded, striking a balance between being overly sentimental and excessively vulnerable, while also possessing an underlying strength that ultimately emerges. Her heartfelt rendition of 'Being Mrs Banks' conveys a sense of longing intertwined with frustration. Ed Ezzy and Ailiche Goddard-Clegg delivered a gentler interpretation of their roles, proving to be just as remarkable as the alternate Mr and Mrs Banks. The Banks children represent the innocence of childhood while also embodying the challenges faced by children in a busy household where parental attention is scarce. These are huge shoes to fill with them both being onstage for around half of the performance. The young actors delivered exceptional performances, showcasing their natural charm, playful and sensitive natures. Their solo of ‘The Perfect Nanny’, although only a minute long, was impressive and earned enthusiastic applause. Congratulations to Paddy McKane, Lily Cheeseman, Ollie Duffy and Henry Ezzy for delivering outstanding performances and infusing their own distinct personalities into these legendary roles.
Opera trained Penny Bolton perfectly embodies Miss Euphemia Andrew, George Banks’ strict and domineering childhood nanny, whose harsh disciplinary style sharply contrasts with the nurturing approach of Mary Poppins. Her intensely threatening and occasionally shrill performance of ‘Brimstone and Treacle’ is quite frightening and adds much dramatic contrast to Act Two. Emmalee Bell plays the alternate Miss Andrew with equally dramatic flair and strong vocals. Danielle Gladman as Mrs Brill the cook, and Calder Nicolson and Otis Stretch sharing the role of Robertson Ay, the servant, delivered abundant comic relief, eliciting numerous hearty laughs and applause from a grateful audience. Local theatre icon Margy Jackson, portraying the Bird Woman, gave a powerful and emotional performance of ‘Feed The Birds,’ stirring profound feelings in the audience. In her first ever musical Ellie Read plays the whimsical and somewhat peculiar figure Mrs Corry, owner of a shop that sells conversations. Frannie (Amelie Gleeson) and Annie (Arwen Bounds) are Mrs Corry's daughters. The joy of this trio is infectious and really cements the happiness and magical qualities of Act One showstopper 'Supercalifragilisticexpialidocious'. Iesha Kenna does an impressive song & dance as Valentine the doll ('Playing The Game') who comes to life after Michael pulls her arm off. Ruby Nelson (Neleus, the park statue) possesses an irresistible allure, and her graceful ballet-like movements captivate all who see her. Other main roles that require a mention are Lachlan Turner (FFB Bank Chairman), Dean Field (M. Smythe, the secretary/Park Keeper), Emmalee Bell (Katie Nanna), Jane Duffy (Miss Lark), Paul Venzo (Admiral Boom/Von Hussler), Terry Clift (Policeman/John Northbrook alt.) and Mabel Albers (Willoughby). Congratulations to the outstanding featured dancers and ensemble. Your exceptional talent adds significant energy and richness to the chorus and dance performances.
If you’re seeking a family-friendly, upscale Disney show that won’t break 'The Banks' this school holiday, your search ends here.
The joy in this show will have your ‘heart beating like a big brass band.’
Jonathan Cox
Photos: Greta Punch, Angela Kenna & Tai Drake
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