Mary Poppins - 9 out of 10 stars
Scotch College Adelaide
SOLD OUT SEASON!
Scotch College’s production of Mary Poppins, staged by students across Years 7-12, had audiences joyously
raving about what they just witnessed as I left The Queens Theatre tonight,
where “Practically Perfect” begins to feel like a serious goal than just a song
in the musical… and they’re almost there!
Co-directors Stephanie Thompson and Melissa Sheldon,
alongside musical director Martin Cheney and choreographer Stephanie Thompson,
have conjured something quite special, striking a fine balance between
theatrical illusion and emotional intimacy. Special mention must go to Kellie
Jones for costumes that kept us rooted in Edwardian London, enveloping the
production in time and place with sumptuous detail.
Atop this theatrical sundae is Sebastian Cox as Bert,
radiating smooth charm and charisma. His dance and aerial feats, especially
during “Step in Time,” were both fearless and dazzling, with mid-air
somersaults that sent the show truly sky-high.
As for the eponymous nanny, Georgia Polischko’s Mary Poppins
is vocally sublime. Crystal clear and capable of sailing above the rooftops with
grace, her performance grows ever more refined by Act 2, once familiarity
replaces formality. Her flying sequence may have left her slightly uneasy (and
honestly, who wouldn’t be?), but she held character and composure like a
seasoned professional and still levitated with controlled elegance, whereas Bert
milked every inch of his airtime during “Step in Time,” flipping through the air
like Peter Pan’s cockney cousin. A proper hat tip to the Flying Team and
Choreography—the layer cake of movement here was as close to professional as
I’ve seen at school level thus far.
Olivia Adcock as Jane Banks, and Poppy Warren’s Michael Banks
immediately anchor the emotional heart of the show with such innate chemistry.
Adcock brings delightful bratty energy as the older sister – just the right
side of precocious, and Warren, who covers the role in both casts, brings an
infectious energy and facial expressiveness that’s nothing short of magnetic.
Wiliam Jarvis as George Banks offers brilliant rigidity in his
opening scenes and provides measured transformation throughout the storyline. There’s
something wonderfully mathematical about his manner early on, befitting
“Precision and Order,” and yet we witness this unbending man soften
convincingly as the story shifts and realises family is important. Clementine
Launay as Winifred Banks brings vocal sensitivity to “Being Mrs Banks,” though
she begins with a touch of shyness—easily forgiven with the promise her voice
carries for the future.
Among household staff, Elliott Purdie’s Robertson Ay is a consistent (and hilarious) scene-stealer. A delicious mix of over-the-top physical comedy and expressions that rattle their way through the audience like a shared secret. An absolute joy to watch, not to mention a fine dancer tucked within the show’s spirited troupe. Jasper Darwent’s Mrs. Brill delivered some delightful character work alongside Purdie’s Robertson Ay, and her opportunity to sing in Act Two was well received. Eleanor Driver, as Mrs Andrews soared vocally in her feature scene and reprise. Equally, Grace Buchanan’s Katie Nanna, though a small role, brought memorable comic flair.
Ashleigh Sykes shone as Miss Corry, leading
“Supercalifragilisticexpialidocious,” a choreographic feast if ever there was
one. The multiple layers in the singing and dancing made this number one of the
standouts, with the powerful ensemble giving it backbone. Similarly, the Dolls
sequence sparkled as a well-oiled machine—but mercifully didn’t descend
overhead à la ghostly toy invasion. This is a very choreographically
disciplined production. The two senior dance troupes matched the verve you’d
expect from grown-up musicals like Newsies or Billy Elliot. The other choreography
highlight is previously mentioned “Step In Time”, with its amazing, layered dances
and voices that truly had audience members gasping. And thank you for the,
albeit minimised, tap segment.
The quieter moments found poetry as well. Liliya Boesch as the Bird Woman gave "Feed the Birds" the reverence it deserves, a haunting, heartfelt pause in the flurry. Among supporting roles, William Giovanelli’s Von Hussler and Asher Gordon’s John Northbrook, while small in space within the script, gave spirited performances, drawing crowd whoops out of the crowd. Kaylin Hausleitner as Miss Lark and her yappy dog is entertaining, as is Chloe Sorenson’s Park Keeper and they both made the most of each interaction with Bert on their journey. Charles Poland breathed fresh life into Admiral Boom and the Chairman, bringing originality to roles steeped in expectation.
Technically, the production was almost as tidy as Mary’s
carpet bag. Set design by Megan Venhoek—a dynamic series of sketches and
drawings—imbued the show with a charming, handmade storybook aesthetic.
Constantly engaging, they sat beautifully under Stephanie Thompson’s video
design, which remained impressively in sync with cues. The LED screens carried
the show into contemporary territory, a tasteful use of tech that enhanced
without distracting. One worries if this will soon become a new format in some
theatre circles.
Some hiccups: yes, mic issues were consistent, and a slightly late entrance was noted, but didn’t detract from an otherwise polished production. The sound levels skewed loud throughout, but the lighting design was striking and beautifully timed. The band under MD Martin Cheney was tight and expressive, with only the occasional rogue note—a minor ruffle in an otherwise crisp musical underskirt.
It’s worth noting, perhaps cheekily, that the venue’s refreshment prices made one wish for a self-replenishing Mary Poppins handbag—budget with care if you're treating a group. I’ve learnt that Scotch College has a tradition of producing ambitious theatrical works, and Mary Poppins is no exception, tackling the magic and metaphor of this musical masterpiece has paid off. There is heart and hard work here, and above all, a level of stagecraft that is not far “Practically Perfect”.
If you don't have tickets to this uplifting, toe-tapping, heartwarming production, it's too late, but check out their musical next year!
- Andrew Broadbent
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