*****
From its opening moments, Mary Poppins at the Millennium Centre proves itself to be an unashamedly joyful spectacle — a production so brimming with energy and theatrical magic that it leaves audiences lifted long before the final curtain falls. This stage adaptation of the P. L. Travers stories and classic Walt Disney film captures the heart of the original while using the full power of live theatre to deliver something genuinely exhilarating.
Directed by Richard Eyre, the musical runs until 10 January 2026 and follows the familiar tale of the Banks family on Cherry Tree Lane, whose chaotic household is transformed by the arrival of the mysterious nanny with extraordinary talents. While the narrative is slightly streamlined from the film, the storytelling remains clear, self-contained, and emotionally satisfying, making it accessible for long-time fans and newcomers alike.
At the centre of the production are two charming leads. Stefanie Jones is pitch-perfect as Mary Poppins, combining a crisp vocal delivery with warmth and gentle authority, while Jack Chambers’ Bert radiates boundless likability. The chemistry between them feels effortless, extending into convincing affection towards the young cast playing the Banks children. Vocally, the production is consistently strong across the board.
Several moments stand out as pure theatrical triumphs. In the first half, the sombre greys of the park suddenly bloom into vivid colour as the statue of Neleus springs to life, launching into a beautifully choreographed ensemble dance brimming with precision and flair. In the second act, the high-energy rooftop sequence sees a tap-dancing army of chimney sweeps deliver thrilling vocals while Bert defies gravity, quite literally walking up the side of the stage, across the top, and down again. The finale provides perhaps the most magical moment of all, as Mary Poppins bids farewell by soaring not merely above the stage but out over the audience and into the darkness of the theatre’s upper reaches — a breathtaking illusion that provokes audible gasps.
The supporting cast also shines, particularly Lyn Paul’s poignant Bird Woman and Cameron Thomas Jones’ animated, touching Neleus. Ensemble numbers throughout are executed with remarkable tightness, balancing athletic energy with crisp unison movement.
Richard Eyre’s staging is impressively ambitious, featuring complex, mobile set pieces that glide seamlessly between the Banks home, the park, rooftops, and the Bank, working fluidly with the choreography rather than competing with it. The elaborate set design never overwhelms the performers, while costumes remain relatively simple yet tonally responsive to each scene. The orchestra is clear and vibrant, lending rich support to the production’s musical highs. Choreography constantly shifts in style, keeping visual interest alive and the pacing energetic.
Purists hoping for a scene-by-scene recreation of the film may notice omissions — the suffragette subplot and bank run are absent — but these changes serve to tighten storytelling. Only the most devoted Julie Andrews or Dick Van Dyke enthusiasts are likely to lament such alterations.
For everyone else, this is utterly irresistible theatre. Mary Poppins at the Millennium Centre is a super(califragilisticexpialidocious) must-see for audiences of all ages. 10/10.
Jack Chambers and company
Stefanie Jones
Until January 10
https://www.wmc.org.uk/en/whats-on/2025/mary-poppins
Images by Dean Kaan
