The world’s favourite flying nanny has returned to Edinburgh to kick off Capital Theatre’s 2025 programming with a spoonful of sugar. The stage adaptation of Disney’s classic movie, ‘Mary Poppins’, is playing the Festival Theatre until Saturday 15th February. Based on P.L Traver’s stories, this musical follows the Banks family, as they try to gain some normality to their chaotic lives, however, when Mary Poppins arrives as the family’s new nanny, can a world of whimsical adventure enlighten the Banks as to what’s precious within life?
Leading this cast is Stefanie Jones as Mary Poppins, her portrayal of the iconic character (made famous by Julie Andrews) is practically perfect in every way. From the moment Stefanie appears on stage her mere posture indicates the spit spot expectations of the magical nanny. Stefanie’s performance of Poppins is sharper, stricter and even more proper than that of the original motion picture. Yet her gleeful and giddy nature is seen in several moments of the musical such as ‘Jolly Holiday’, ‘Supercalifragilisticexpialidocious’ and ‘Step in Time’. Stefanie’s voice is stunning, she truly tackles the musical numbers in a way that is more than worthy of stepping into the shoes of Julie Andrews. And when it comes to tackling the complex choreography laced throughout this production, Stefanie doesn’t miss a beat or drop an ounce of energy. This is a splendid performance.
Accompanying Stefanie on stage, and joining her from Australia is Jack Chambers as Bert. Jack’s Bert is cheeky, comical and also very empathetical to the Banks. Jack’s dance skill is impeccable, in every number he is featured, you can’t keep your eyes off of him – with the level of precision and sheer skill he showcases. ‘Step in Time’ is not only one of the best performances in the show, but is one of the biggest dance spectacles in musical theatre and Jack’s participation in this helps bring to the joy of the sequence. With this Jack’s voice is lovely and well suited to the lovable Bert, ‘Chim Chim Cher-ee’ is a lovely nuanced moment in between the constant spectacle of the show which relies on Jack’s vocal skill – which does not disappoint but rather delights.
Amplifying both the lead character’s portrayals is Jack and Stefanie’s dynamic on stage, which is undoubtedly the strongest Bert and Mary duo we have seen in the UK, the performers have a great relationship and that is clear throughout the performance.
Another brilliant duo is Michael D. Xavier as George Banks and Lucie-Mae Sumner as Winifred Banks. Michael’s George is truly brilliant, he takes a role that is usually approached as a stoic father figure, but instead breathes light and humour into the patriarch of the family. His portrayal is reminiscent of John Cleese’s Basil Fawlty, and that is in no way a criticism, this approach works and breathes life into the troubled father. Lucie-Mae Sumner’s Winifred Banks is a woman that is determined to bring purpose to her life and piece her family together. This comes to a head in the stunning musical number ‘Being Mrs Banks’, Lucie-Mae’s performance makes this a show-stopping moment.
The children in this production starring as Michael and Jane Banks have an incredibly complex track, which includes keeping up with the tricky choreography, tackling iconic musical numbers and bringing the two Banks children to life. Oscar Mcculloch as Michael and Olaya Martinez Cambon as Jane were simply incredible during the performance I watched, where both brought these (mostly) delightful characters to life with such ease and energy. The pair should be applauded for the sheer talent they hold.
This musical is filled with performers at the top of their game playing brilliant supporting roles. Rosemary Ashe as Mrs Brill and Ruairidh McDonald as Robertson Ay are brilliant as the help of the Bank’s household and bring splendid comic relief. Patti Boulaye as the Bird Woman brings a truly beautiful rendition of ‘Feed the Birds’. Wendy Ferguson brings us a truly devilishly devious Miss Andrew, making the younger members of the audience cower when she appears on stage. David Burrows brings us two bumbling characters; one filled with flirtatious humour in the form of Admiral Boom and a more stoic Bank Chairman. Sharon Wattis as Mrs Corry is bursting with energy and life, featuring in the centre piece of the musical, ‘Supercalifragilisticexpialidocious’.
The ensemble of this musical tackle complex choreography, provide staggering vocals and portray characters that look straight out of a cartoon. The ensemble of this production are as follows; Jay Luca Allan (Adonis), Marianne Bardgett (Swing), Rhys Batten (Adonis), Lydia Boulton (Swing/Dance Captain), Ben Culleton (Victor), Jasmine Davis (Nymph), Matthew Dawkins (Gardener), Lily De-La-Haye (Katie Nanna), Nathan Elwick (Northbrook/Policeman), Darcy Finden (Gwendoline), Lyndsey Gardiner (Nanny), Ryan Gover (Swing/Assistant Dance Captain), Emma Harrold (Maternity Cover – Katie Nanna), Billy Mahoney (Valentine), Sarah-Marie Maxwell (Spinster), Yjin Park (Neleus), Roan Pronk (Swing), Henry Rhodes (Pan), Jacob Ritzema (Ernest), Scarlet Roche (Nymph), Callum Rose (Swing), Charlie Waddell (Gardener), Rachael Ward (Miss Lark), Jemima-Jane Willcox (Swing), James Wolstenholme (Von Hussler/Park Keeper) and Ellie Young (Nymph).
Cameron Mackintosh produces this musical in association with Disney Theatrical Group, this production has at the helm the crème de la crème of creative talent. Former National Theatre Artistic Director Richard Eyre directs this musical with his co-director – the legendary Matthew Bourne, who also choreographs this musical with Stephen Mear. James Powell adapts their direction for this UK Tour. Eyre & Bourne bring the characters to life with an elevated nature to represent the whimsical source material of P.L Traver’s brilliant books. Yet all the characters are nuanced and easily accessible to the audience. They take Julian Fellowes’ beautiful book, which differs from the movie, and bring a new story for audiences to love, with new characters and spins on the ones we already love. Arguably some points of this script are better than the original movie with Eyre & Bourne relishing in this to give audiences coming to see the stage adaptation something new. Yet even with the new content, this is undeniably the ‘Mary Poppins’ everyone knows and loves.
Movement is a key element present in the production to help push and tell the narrative – this isn’t even during the incredible musical numbers (more on that later) – this is just in scenes where the ensemble embodies characters which are almost silhouettes in the background, yet they are truly stunning and really embed the setting of Victorian London on stage. In terms of Bourne & Mear’s choreography, taking on one of Disney’s most prominent films to feature large scale dance is a tough task for anyone, even these seasoned creatives, however they elevate these numbers and bring even more of a visual feast than that which is present within the film. ‘Step in Time’ and ‘Supercalifragilisticexpialidocious’ are incredible feats of theatrical genius. For a family musical, there is no simplification of dance is here, rather making it more complex to ensure everyone of all ages is hooked.
This production is almost twenty-one years old, in this tour of the 2019 revival, some aspects of the musical have been revised and yet the grandeur and staggering scale is still very much present, with the advancement in technology since the show’s conception complimenting the musical’s existing features rather than replacing it. Bob Crowley’s set and costume is what makes this production so special, you can’t help but be in awe that designs such as this has the ability to tour, it’s an element that assists in bringing the magic to this musical. All of this is complimented by Hugh Vanstone’s versatile lighting design, bringing vibrancy to scenes, grey Victorian gloom to others and who can forget the stars? Vanstone’s work on this production is gloriously gorgeous. Paul Kieve and Jim Steinmeyer’s illusions are the best in theatre – even for a critic, you can’t help but crack a smile at the theatrical magic unfolding on stage.
The music in this production is simply sublime, featuring the iconic musical numbers composed by the late great Sherman brothers (Richard M. Sherman & Robert B. Sherman). The pair created music that impacted several generations such as ‘Feed the Birds’, ‘Spoonful of Sugar’, ‘Chim Chim Cher-ee’, ‘Let’s Go Fly A Kite’ and of course ‘Supercalifragilisticexpialidocious’, all featured in this musical with stunning orchestrations from the late Willam David Brohn. Fans of these nostalgic musical numbers will not be disappointed by the re-working for the musical as they simply lift the scale and energy to bring audiences something special. George Stiles and Anthony Drewe also brought new numbers to the musical, including the apt introduction to Mary Poppins in the form of ‘Practically Perfect’ and the spellbinding finale ‘Anything Can Happen’, they pay tribute to the Sherman brother’s work and bring something new to the narrative.
‘Mary Poppins’ is a stunning masterpiece that encapsulates the whimsical beauty of the 1960s motion picture, whilst bringing audiences something new and simply staggering to stage. Featuring an incredible company and creative team, this is theatre for all the family at its best.
Get tickets for Mary Poppins at Edinburgh’s Festival Theatre here – https://www.capitaltheatres.com/whats-on/all-shows/mary-poppins/2314
Photography Credit – Danny Kaan
Theatre Scotland 
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