A technically strong and impressive show, marred by the lack of an emotional core which makes for a brash product with little light and shade.Summary
Rating
Ok
The 2004 stage version of Mary Poppins combines the Disney film, the original novel and a book by Julian Fellowes; additional songs from George Stiles and Anthony Drewe add to some by the Sherman Brothers. It has had huge success.
Technically, this is an assault on the senses as the vast number of sets, dazzling costumes and special effects overload the eyes and the big brassy band fill the ears. The stage comes to life with so much invention; designer Bob Crowley is a mastercraftsman. The ‘cartoon’ element of the original film is missing and so ‘Jolly Holiday’ becomes a clever lurch from the drab monotones of London, to an explosion of colour in the park. Mary’s bottomless carpet bag works a treat, as does the collapsing kitchen – all great fun to behold.
A large cast work their socks off, with the dance sequences particularly strong, not least ‘Step in Time’, which has many hallmarks of co-choreographers Matthew Bourne and Stephen Mear.
There is no issue with deviation from the film, but in some cases (the introduction of the dancing statue Neleus, for instance) very little is gained and the action slows as a result. The movement of ‘Let’s Go Fly a Kite’ to early in Act Two and the exclusion of Mr Banks from it, rips part of the emotional heart from the storytelling. Some of the new songs are good (‘Practically Perfect’ for example) but there are too many of them and a number outstay their welcome. Running at just under three hours, Fellowes et al have over-inflated the show and it ends up appearing self-indulgent.
As Mary, Stefanie Jones certainly looks the part and sings beautifully, but her characterisation is very hard-edged and cold; so much so that the character is difficult to like. Jack Chambers gives a sprightly Bert, who can dance very well, but rivals Dick van Dyke for the worst Cockney accent; at times he seems strangely and inappropriately camp. There is the concern that the performers were asked to offer pantomime-style performances. Excellent actor though he is, Michael D Xavier’s George Banks is a cartoonesque John Cleese and the emotional moment of salvation at the end is lost as a result. Lucie-Mae Sumner has a lovely song (‘Being Mrs Banks’), which she sings well; her character is no longer a suffragette, but a former actress of which little is made. The other most affecting song in the original score, ‘Feed the Birds’, is now a duet between Mary and the Bird Woman; in which role Patti Boulaye looks far too glamorous and rather uncomfortable. As Jane and Michael, Olivia Ainsworth and Joshua Miles do sterling work – they have a lot to do – though at times the gabbling of lines make their vocals indistinct.
No tears are invoked, no lumps in the throat: the result, barring the visuals, is bland and charmless.
Oh, and why can we see the wires when Mary leaves at the end of Act One? Invisibility is achievable, but here they are very obvious. The magic is lost.
Many of these views will be the exact opposite of the vast majority of audience members and yes, there are many elements of this show which deserve praise, but the substance of the show is left wanting.
Original novel by: P L Travers
Original music and lyrics by: Richard M Sherman & Robert B Sherman
Book by: Julian Fellowes
New music and lyrics by: George Stiles & Anthony Drewe
Produced by: Cameron Mackintosh
Directed by: Richard Eyre
Co-Directed & Choreography by: Matthew Bourne
Co-Choreography by: Stephen Mear
Design by: Bob Crowley
Lighting Design by: Hugh Vanstone
Sound Design – Paul Gatehouse
Musical Director: Isaac McCullough
Mary Poppins – The Musical plays at Theatre Royal Plymouth until Saturday 29 March.
