Mary Poppins at Birmingham Hippodrome Review
DISCLOSURE – TICKETS TO SEE THE SHOW WERE GIFTED TO THE REVIEWER AND GUEST FOR THE PURPOSES OF WRITING THE REVIEW
Reviewed by Alexander Wilde
Supercalifragilisticexpialidocious indeed!
The world’s most famous nanny has flown into Birmingham Hippodrome, complete with her umbrella, carpet bag and an air of mystery, in this spectacular touring production of Mary Poppins.
There is a particular challenge in adapting a beloved live-action film to the stage. Unlike animated classics, which offer broader creative licence, a live-action adaptation carries the weight of expectations: iconic imagery, unforgettable performances, and a deeply ingrained sense of nostalgia. In the case of Mary Poppins, the towering presence of Julie Andrews and Dick Van Dyke casts a long shadow. Their portrayal of Mary and Bert is etched into cinematic history. Yet, this production meets that challenge head-on and triumphs, honouring the spirit of the original while lifting it into something distinctive and modern.
What I hadn’t fully appreciated before was just how rooted this production is in the original P.L. Travers stories. Legendary producer Cameron Mackintosh’s long-standing passion for the source material is clear throughout. This isn’t simply a stage retelling of the film, it’s a carefully woven adaptation, from some of the greatest artists working today, that brings in darker shades, deeper characterisation and moments of unexpected poignancy. It also allows room for a little more chaos, a little more complexity, and a lot more heart.
Stefanie Jones is wonderful! Her Mary is sharp, elegant and delightfully enigmatic. She captures the aloof kindness of the character without imitation, creating a version of the magical nanny that is both familiar and entirely her own. Her vocals are clean and confident, her movement precise and graceful, and she performs the physical magic of the show with a matter-of-fact poise that only enhances the illusion.
Jack Chambers, as Bert, radiates warmth, mischief and cheeky charm. A true triple threat, his dancing is particularly thrilling. The highlight of the show, for me, was ‘Step in Time’, which exploded with energy, rhythm and jaw-dropping athleticism. As Bert literally tap-danced up the proscenium arch and across the top of the stage. It was a joyous, celebratory moment of theatrical magic; the kind that only live performance can deliver.
The Banks family dynamic is explored with more nuance than in the film. George Banks, played by Michael D. Xavier, begins as a man consumed by structure and status, yet gradually reveals his fragility and buried feelings. His emotional arc is deeply moving. Winifred Banks, brought to life by Sarah-Marie Maxwell, is less the passive housewife of the original film, but a thoughtful, quietly powerful woman navigating her role in a world that rarely recognises her value.
The children, Jane and Michael (played at this performance by Olive Harrison and Oliver Benson), are mischievous, clever and wonderfully expressive. Their transformation under Mary’s firm-but-fair approach is heartfelt and believable, and their natural stage presence made for some of the evening’s most affecting moments.
The supporting cast are nothing short of exceptional. Wendy Ferguson is a hoot as Miss Andrew, the tyrannical former nanny, whose fearsome vocals and villainous poise inject pantomime energy into her scenes. Rosemary Ashe delights as Mrs Brill, the long-suffering housekeeper with razor-sharp wit and impeccable timing. Ruairidh McDonald as Robertson Ay is a physical comedy marvel – all flailing limbs and endearing bewilderment. Patti Boulaye gave a poignant performance as the Bird Woman; incredible that with so few words an actor can create such depth.
A very special mention too to the wider ensemble/swing, every performance is delivered with skill and zest. Featuring a stage-full of future talent, there are no small parts here.
Musically, the show is a triumph. All the beloved Sherman Brothers classics, including: ‘Feed the Birds’; ‘A Spoonful of Sugar’ and ‘Let’s Go Fly a Kite’ are woven seamlessly with newer songs that elevate and enrich. The orchestrations are bursting with that unmistakable Disney magic, with notes of Edwardian whimsy and 1960s brassiness that ground the piece in its time. I found myself humming the melodies long after the curtain fell.
Equally, this is a production of technical brilliance. The Banks’ family home is a dollhouse brought to life – complete with rooms and set-pieces that slide, rise and rotate with ingenious precision. At once whimsical and wonderfully precise, it mirrors the story’s themes of order, disruption, and jubilant transformation. The whole performance is artistically intriguing. From the chalk-drawn backdrops of smoky London skylines to the swirling, kaleidoscopic colour of ‘Mrs Corry’s Talking Shop’, every scene is painted with imagination and flair. The set and projection design breathe life into the impossible, while the lighting and costume design add both mood and magic. Some effects defy belief – whether it’s objects flying into bags, magical mirror reflections, or the jaw-dropping final moment that saw Mary ascend into the rafters with barely a whisper of effort. Each effect is delivered with confidence and style, never flashy for its own sake, but always in service to the story.
It’s no small task to take something so treasured and reimagine it for the stage. But this production rises to the challenge and delivers a polished, heart-filled evening of theatre. Yes, it honours the film as well as expands it from literary roots and brings it forward to a new generation. This Mary Poppins is not just a trip down memory lane, it is theatrical escapism at its finest: uplifting, technically astonishing and emotionally satisfying. The standing ovation was immediate and fully deserved.
Arriving with the wind and leaving with your heart – this production is spectacular: full of warmth, wonder and theatrical joy. From the very first note to the final bow, I was grinning with delight. No dilly-dallying, spit spot! Book your tickets and prepare for a practically perfect evening.
Five Magical Stars!
Rating: 5/5
Tickets cost from £25.
On Stage until 23rd August 2025, for more information or to book tickets visit www.birminghamhippodrome.com or call the box office on 0844 338 5000.
Birmingham Hippodrome Theatre, Hurst Street, Southside, Birmingham, B5 4TB
Tour information: marypoppins.co.uk
The splendorous Birmingham Hippodrome stands within a clean, well-lit, and popular cultural heart of the city. The historic area and venue has benefited from extensive regeneration and considered transport links over the last two decades. The Theatre is surrounded by a range of bars, restaurants, and entertainment options for a great day or night out in the bustling city. Arriving by car, routes to the theatre were well signposted and nearby parking was plentiful. The Bullring and Grand Central train station are a short walk away.
The main foyer is modern and spacious, leading to all accessible levels. We were greeted warmly on entering and felt a buzz in the air. We found the bars/concession stands to be well manned, stocked with a wide range of hot/cold drinks and treats; all of standard prices for theatres. I have sat in both stall and dress circle seats; both are very comfortable and provide excellent views of the stage.