Mary Poppins

Community theatre is generally the perfect avenue for people of all ages and theatrical talents to get together, and what better a vehicle than this ever-popular family show. Based loosely on the original movie, the Cameron Mackintosh version is somewhat different in presentation, being adapted for the stage whilst still incorporating the characters originally found in P.L Travers’ novel and selections from the original film score. QMT often take on ambitious projects and this production is no exception, requiring frequent scene, lighting and costume changes whilst fitting a fairly large cast on a smaller stage complete with a full orchestra in the pit.

But more importantly a good cast can make or break a show, whatever the budget and standard of presentation and this is where the show demonstrates its true colours: Georgia Mercer shines in the title role capturing the very English 'practically-perfect-in-every-way' characterization with grace and style, including a semi-operatic voice that soars through the auditorium, while Ray Gillmore as Bert is well-and-truly-cast, being warm and embracing as the cockney chimney-sweep song-and-dance man, charismatic and full of energy. There are also some terrific and amusing characterizations from Kellie Wilson as Mrs Brill and her side-kick Skye Schultz as Robertson Ay and very convincing portrayals from the Banks family, in particular Jamie Taljaard as Mom and with David McLaughlin as Dad and the children, Jane and Michael, with the opening night cast, one of two, being on display. Also, there is a captivating rendition of 'Feed the Birds', one of my favourite songs from the show, from Kristie Rabbitt. 

The chorus numbers like 'Superfrag ...' (you-know-the-rest), 'Step in Time' and 'Anything Can Happen' brought enthusiasm and energy to the stage with some fun-filled dance segments, including tap, using effective choreography from Julianne Burke and well-rehearsed routines.

One of the highlights of the ever-popular movie is the enchanting musical score, each song a gem, though sadly some were cut from the stage version with some of the new material lacking in Sherman Brothers’ wizardry. However, to transform a musical from film to the stage is somewhat in reverse to the norm and one cannot help reminiscing on the original version, subconsciously comparing to what was a neat little 'package-of-magic'. However, the producers no doubt had reasons for this transformation, perhaps to steer the audience away into the new 'theatrical' version, particularly as some shows don't always work in a different medium.

Having viewed three other musicals in the Twelfth Night Theatre, in contrast, and disappointingly, the orchestra in this particular production necessitates more rehearsal, direction and sound balance adjustment. Being arranged for brass and woodwind players only, with the keyboards usually layering the overall sound with electronic padding, not apparent in this instance, the show was at times somewhat marred by unevenness and distortion distracting from the beauty of some of the famous melodies, though, fortunately, the vocals and chorus work transcended the overall effect with clarity and ebullience.

Still, and all emanating from the stage, with a moving display of costumes, special video effects, even flying characters, a colourful lighting plot and a vivacious and appreciative audience on opening night, one cannot ignore the impressive and glowing community effort and work, headed with panache by production director Deian Ping. 

Brian Adamson