A complicated relationship between a writer and her biggest creation. This could be supercalifragilisticexpialidocious – maybe with a spoonful of sugar, next time.Rating
Ok
P L Travers (played by Lottie Walker) is undoubtedly best known for writing the Mary Poppins books. Born Helen Lyndon Goff in Maryborough, Australia in 1899, she starts her creative career as an actress, using the name P L Travers and known as Pamela. She soon moves on to writing press articles and poetry then on to fiction.
We join Pamela at home in 1966, struggling to find inspiration for the fifth book in the Mary Poppins series. After wishing for the help of a secretary, as if by magic she is joined by Mary Poppins herself (Joanna Brown). Pamela is known for being difficult and acerbic and appears to have a dislike of both attention and people, especially children. This is evident from the outset in her dialogue with Mary.
The hugely successful writer being haunted and challenged by their biggest and far more well-known creation is an interesting concept, where the personalities of writer and creation here are poles apart. Brown is pleasing as Mary, injecting just the right amount of wit, personality and optimism into the character. Walker’s portrayal of Pamela is less effective, being somewhat flat.
As things progress, we learn that Mary is keen to explore her creator’s past, often bringing up her troubled childhood back in Australia, her string of past relationships with both men and women and the challenged relationship with her adopted son, Camillus. At times we’re told that Pamela is made to feel emotional and tearful, yet the performance certainly doesn’t convey this. It is all rather awkward. At times too, both characters are engaging with the audience, Brown more successfully than Walker, but again this is slightly uncomfortable and as if neither knows what to do or how far to push this engagement.
We break for an interval after only half an hour, with Mary pushing Pamela to open up, and there is a slightly menacing frisson before the lights dim. Could the second act turn into more of an edgy thriller? Personally, I would have liked that, but it wasn’t to be.
The musical interludes are an attempt by writer Clare Norburn to include music that Pamela would have wanted in the Mary Poppins film, which in reality were the choices of the Walt Disney Corporation. Pamela preferred music of her generation, but she was not to have her wish. Her ongoing displeasure with Disney over their interpretation of the story is mentioned several times, and as a viewer you get to understand her frustrations and have some sympathy for her. Even the original costume ideas were overridden despite protracted discussions with Disney before filming began, and it does make you wonder how much of the original character and story remains.
Speaking of costumes, there is little here to identify that we are in 1966. Mary remains in a rather confused outfit for the entire performance, with Pamela in nightwear and dressing gown for the entire first half, changing into more conservative wear for the second. One retro chair is the only hint at this being the home of the author in the 1960s, and I’m not convinced this is something that she would have had.
This story could really go somewhere; the narrative is strong with a novel format that slowly teases out the relationship between creator and character. With some more depth, emotion and further exploration into Pamela’s psyche, the battle of wits with Mary could be a very entertaining show. The sold-out auditorium here certainly enjoyed the performance, and with work it could achieve bigger and better things.
Written and Produced by Clare Norburn
Directed by Nicholas Renton
Music arranged and composed by Steven Edis
Lighting design by Natalie Rowland
Costumes by Hope O’Brien
Practically Imperfect is on tour until Friday 20 March.
