Mary Poppins (Cher-ee Cast) - 8.5 out of 10 stars
NOW Productions
Tickets Here: Mary Poppins | Tickets | Trybooking
NOW Productions’ Mary Poppins truly soars, thanks
to a dedicated creative team and an impressive cast of over fifty performers
who bring colour, warmth, and magic to the stage.
Director Joe Russell, Musical Director and Vocal Coach Robert
Young, and Choreographer Mandy Russell
have brought all the elements together with love, care, and precision.
Their production of Mary Poppins is polished,
heartfelt, and bursting with integrity, community spirit, and infectious joy.
With a deep understanding of ensemble theatre, they ensure every performer—from
leading roles to the youngest ensemble member—contributes meaningfully to this
uplifting story of family, imagination, and kindness.
Lilly Marr‑McGuire embodies Mary Poppins with precision, poise, and
charm. Her clipped diction, graceful movement, and effortless transitions make
her performance practically perfect in every way. Her astonishing vocal range
and expressive delivery add both power and polish, capturing the magic and authority
that define this beloved character.
Joel Ewens is perfectly cast as Bert, bringing charm, wit, and
physical flair to the role. His cheeky humour and engaging interactions with
every character make him a delight to watch. The subtle touches—dropping the canvas in the pit, his playful disappointment at
missing a peck on the cheek, and the joy that follows when he finally gets one—add endearing warmth and wonderful humanity to his performance.
Annabelle Coulson (Jane) and Estelle Robinson (Michael) deliver standout performances that deny
their age. Coulson’s grace, poise, and confident stage presence—especially when
featuring in the dance troupe in Act Two
to showcase her ballet skills—hint at a
promising future. Robinson’s bold projection and uninhibited
energy perfectly capture the spirit of a mischievous younger sibling seeking
attention. Both demonstrate remarkable awareness of their surroundings and
remain fully engaged in character, even when not the focus of the scene.
The Banks family is brought vividly to
life. Abby
Hall delivers an exquisitely nuanced Winifred Banks, her heartfelt performance
of Being Mrs Banks both powerful and
deeply moving. She balances warmth and uncertainty throughout, crafting
distinct, genuine relationships with George, the children, and Mary Poppins alike. Bryce Young’s George Banks begins the show with stern
formality, but his gradual transformation into a compassionate father in Act Two feels sincere and earned,
revealing a touching vulnerability beneath the rigidity.
Among the supporting players, Lucy Oster’s Mrs Brill is wonderfully brash yet tender-hearted,
exuding energy and impeccable comic timing. Her over-the-top reactions during
Act Two’s household chaos are a joy to watch. Thomas Baker’s Robertson Ay provides an entertaining counterpart with his
nervous fidgeting and expressive physical comedy, creating a charming dynamic
alongside Brill’s boldness. Sheridan
Horskin’s
Bird Woman brings a
gentle, soothing presence to the stage, her wistful moment beautifully framed
by the stained-glass lighting that glows behind her in Act One.
When the ensemble bursts onto the stage in Jolly Holiday, the true scale of
this production becomes clear. Over fifty performers fill the stage with
vibrant colour, dynamic movement, and impressive discipline, maintaining
integrity to the choreography throughout. Chloe
Nearmy’s
Mrs. Corry injects
infectious energy and a bright, playful accent into Supercalifragilisticexpialidocious,
which dazzles with synchronised movement, brilliant colour, and audience
participation encouraged by Bert’s reprise. It’s also one of the few moments
where the lighting design truly shines, adding a welcome sparkle that elevates
the entire scene.
Act Two’s Step in
Time is an undeniable showstopper—a thrilling tap sequence that
bursts with energy and spills effortlessly into the aisles, proving that Mary Poppins can be
spectacular even without flying effects. Let’s Go Fly
a Kite continues
that same spirit of joy and community connection. The full-cast moments across
the show highlight the ensemble’s unity and precision, culminating in Anything Can Happen (Part 2), a visually and
emotionally magical number brought to life through the glowing Starlighters,
atmospheric fog, and razor-sharp choreography under Mandy Russell’s expert
guidance.
Kaylee Vincent commands
the stage as the formidable Miss
Andrew, delivering a thrilling vocal and dramatic duel against Marr‑McGuire’s
Mary Poppins. Her
confidence, precision, and poise make her a standout Act Two presence. Unfortunately, many audience members
missed part of her Act Two
opener due to lack of interval communication from Front of House, yet Vincent’s professionalism never faltered as she powered through with
unwavering focus. Alex Richardson’s brief but
memorable appearance as the Bank
Chairman earns genuine laughs, especially with his cheeky Vulcan
reference that delighted attentive audience members.
While the lighting design is at times inconsistent—leaving
faces in shadow or lacking focus—these issues do little to detract from the
show’s overall visual appeal, with some great set pieces designed by the
Director. Some hats and hairpieces unfortunately obscure actors’ expressions,
but the costume design otherwise shines, particularly in the eerie toy
sequence. This moment blends creative staging with the ultimate unsettling atmosphere
that feels daring for Mary Poppins and
yet, could be taken even further.
The stage crew, cleverly integrated into the action as
chimney sweeps (Emily Cumming, Owen Fagan,
Zachary Occhiuto, and Director
Joe Russell), manage
transitions with humour and energy that keep the show flowing seamlessly. A
particularly charming moment comes when one sweep encourages the audience to
clap harder—an unexpected touch of meta‑theatre that instantly wins over the
crowd. Most scene changes glide smoothly, though one in Act Two does linger a little longer
than necessary.
The absence of live musicians allowed creative reimagining
of the space, with the orchestra pit transformed into an additional performance
level for entrances and action. This staging choice was visually effective and
added dynamic variety, though it appeared precarious for actors working close
to the edge.
The dance troupe consistently elevates each
large-scale number, performing Mandy
Russell’s demanding choreography with
precision, energy, and flair. Their cohesion and stamina across such a large
cast reflect months of rigorous rehearsal and shared passion, while many
ensemble members match their pace with impressive commitment and skill.
NOW Productions’ Mary Poppins isn’t just
supercalifragilistic—it’s community theatre done right.
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