The stage musical version of “Mary Poppins” is not an easy show to put on, especially for schools as it requires many special effects and very strong vocal and acting skills from all cast. Under the direction of Kristy Triantafilakis, Trinity’s production is ‘practically perfect’ in every way.
Based on P.L. Travers’ novels more than the Disney movie (which Travers hated) the stage version is quite long. But thanks to tight direction and enthusiasm and energy from the cast, this version seems to fly along. On opening night there was a little hesitancy on some cueing from a smattering of cast, but this is easily put down to first night nerves and will tighten up, I’m sure.
Triantafilakis has had to perform a few work-arounds to the special effects but this does not detract from the overall magic of the production. She has put some wonderful extra touches in: kites are symbolised throughout in various ways; the finale overflows into the audience very cleverly; and the ingenious use of some of the Ensemble females, dressed in traditional ‘Mary Poppins’ black complete with carpet bags, as Victorian London lit lampposts.
This last manoeuvre carried out each and every time with precision regimentality. In fact all of Caley Milhench’s superb choreography is performed to the nth degree of excellence by the entire cast. “Supercalifragilisticexpialidocious” and “Step In Time” were so stunning and precisely performed by all that this reviewer whished they could go on forever. The same military precision was also carried out by cast and crew in the scene changes. Milhench also alluded to the famous ‘dancing penguins’ sequence (which Travers’ really hated) in “Jolly Holiday”.
In the first paragraph I mentioned strong vocals. Thanks to Triantafilakis’s vocal direction the vocals from all are superb and powerfully strong, especially when the Ensemble are present. The harmonies emanating from them in “Feed The Birds” and “Anything Can Happen” are simply sublime. Musical Direction by Emma Knights is as tight as always from her – with her also leading a great sounding orchestra.
I can’t rave about the Ensemble enough but with so many in it, it’s impossible to name them all. Suffice to say that they along with the leads are all well grounded giving their best with excellent energy.
Emily George vocalises the Bird Woman well: Alexi Samonte literally sparkles as Mrs Corry blinding us with her talent and her costume; whilst Chiara Puccini plays the Nanny from Hell, Miss Andrew, with a lovely sense of evil and terror.
Willow Shaw handles the role of Housekeeper, Mrs Brill with a nice presence. But it is Owen Fagan as servant Robertson Ay who impressed this reviewer with his slapstick comedy pitched at just the right level. I have seen this role overplayed to high heaven, but Owen knows just how far he can go and when to stop. He also uses his facial expressions and cheekiness well – standing out in the Ensemble as well.
Miah Forsyth as Mrs Banks displays strength and a lovely touch of long suffering whilst Alex Carpenter personifies the Man Of The House, Victorian father. He uses his physicality well and portrays a man greater than his actual age very convincingly. He just needs to watch his straining of his speaking voice – it’s fine now, but will it last the rest of the performances?
As the Banks children, Jane and Michael, Kaelin Marett-Guest and Archer Thomas are utterly delightful, endearing themselves into our hearts from their very first appearance. Archer, in particular, has one of those faces that would melt butter and uses it in character well. His soprano is beautiful and blends well with Kaelin’s.
As side-walk painter/chimney sweep Bert, Josh Roberts impresses greatly. He can act, dance, and sing extremely well. We take him into our hearts immediately which is very important as he is basically the narrator and subtly watches from the side lines throughout most of the show. He is perhaps the best amateur Bert this reviewer has seen. Also, his Cockney accent isn’t overdone (no Dick Van Dyke here, thank you).
Eliana Girgolas plays the titular role of Mary Poppins with a slight twist of her own which works well – she plays her a little more of a school mam therefore coming across stricter for a bit longer than most who play her. But the softness comes out beautifully when she is around Bert and whenever she sings and dances. A captivating performance.
At the end of the performance, I was left with a lump in my throat and tears in my eyes – and that’s a rarity for me. Fly to Trinity’s Mary Poppins, it’s Super(califragilisticexpialidocious)!!
