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The stage version of Mary Poppins is magic, writes Denise Everton
There is more than a touch of magic in the air at Sydney's Capitol Theatre as a nanny with a big heart and bewitching ways transports her audience into a whole new world.
Mary Poppins, the musical based on the 1930s book series by PL Travers, is enchanting, a heady mix of jaw-dropping sets, rollicking tunes and a colourful story that has stood the test of time.
While it would be easy to dismiss this show, unseen, as family theatre, something to take young children to and an old-fashioned tale unlikely to resonate with a teen audience, to do so would be a huge mistake.
Mary Poppins is a class-act in the theatre world, the kind of show that uplifts and enthralls, partly because it is easy to see the incredible amount of work that has gone into every aspect of the production from choreography and costuming to the intricacies of the staging process.
The quality of each individual element is impressive. As a whole it is, like its title character, magical.
For the uninitiated, Mary Poppins is the tale of a nanny who blows in on the wind to help the Banks family of Cherry Lane with more than just their rowdy children.
From the patriarch who works too much and has no time for his children to the mother who is struggling to cope with her role in society, Mary Poppins is tasked with turning a dysfunctional family into a happy, loving unit.
How does she do it? With a spoonful of sugar and showing them the magic that can be found in everyday life.
Verity Hunt-Ballard, the woman who finally won the title role following a long search by the show's producers, could literally have been born for this part.
With ramrod posture, perfect diction and the voice of the proverbial angel, she breathes life into a storybook character, entrancing audiences in much the same way Julie Andrews did in the film.
She is remote yet approachable, strict yet fun, serious yet embracing of the imagination. By the end, you'll be ready to believe Hunt-Ballard can do everything her character is capable of doing.
While she is the centrepiece of the show, Matt Lee, better known from television's So You Think You Can Dance, is her perfect foil as Bert the chimney sweep.
His dance moves are slick and he projects an air of fun and hopefulness as he sings the classic 'Chim Chim Cher-ee'.
Rounding out the cast are a who's who of Australian talent including Philip Quast (George Banks), Marina Prior (Winifred Banks) and Debra Byrne (Bird Woman).
The roles of the Banks' two children are shared by five boys and five girls. The duo tasked with opening night had the presentation and flair of seasoned professionals.
The production features eight new songs but the showstoppers are two of the older ones which also feature the supporting cast members.
'Supercalifragilisticexpialidocious' is a cracker of a number and one I would pay to see over and over again.
While you first have to applaud the cast's ability to sing the number without tripping over their tongues, once you add in the carefully choreographed arm movements and crank up the pace, it becomes a true joy to both watch and listen to.
It's a song that provokes good memories and it'll pop back into your brain in the days to follow, never failing to elicit a smile and a nod of the head.
In the second act, the winner is 'Step in Time', performed by Bert, Mary, the kids and a multitude of sweeps. A rollicking dance number, it punches above its weight and keeps the mood buoyant.
Still, although Mary Poppins is ultimately a bright and cheerful show, the tale does offer plenty of emotional nuance. There are darker moments and softer musical numbers as well as characters with a hint of foreboding.
The contrasts give the show depth, drawing it beyond a treacly, kiddy show with lots of laughs.
Mary Poppins works on all levels from lighting and technical design to the sets and the orchestration of the music. The background, designed to evoke turn-of-the-century London, is superb, featuring dynamic design and effortless movement between scenes.
Sometimes in theatre there is the odd component that jars or pulls you out of the fantasy moment you're meant to be experiencing through the story. It doesn't happen here. Mary Poppins nails everything.
I often think that standing ovations are almost obligatory in national theatre today. This one truly deserved it.
© Fairfax Digital
