Top Ten Theatre Productions in 2016 - Musicals & Cabaret

It was an oddly muted year for musicals in 2016. The top end was spectacular as always with WAAPA’s exceptional The Drowsy Chaperone only pipped for top honours by the unstoppable La Soiree road train.

The Academy features in this category as it does every year joined by local independent powerhouse Holland St Productions. Rachael Beck returns after last year’s Next to Normal and Fringe proved to be a reliable source of musical theatre flavoured entertainment.

1. La Soiree – La Soiree Australia

“In a show of jaw dropping brilliance there was one unmistakeable conclusion – not only is this troupe comprised of superb entertainers but they also count among their number world class athletes.”

2. The Drowsy Chaperone - WAAPA

“The show ticks all the boxes – gorgeous production values, a witty script, fabulous performances across the board, a fun score, and above all it is consistently laugh out loud funny. At a brisk 100 minutes with no interval it is utterly infectious and a complete triumph.”

3. Bring It On - WAAPA

“This was a pulsating show that matched the energy of its performers, was a visual feast, and sounded great. In many ways all these elements elevated what is really a paper thin plot and made it compelling.”

4. Rent - WAAPA

“Standout performances by Kelsi Boyden, David Cuny, Tom New, Finn Alexander and Mackenzie Dunn with the band in cracking form under MD Timothy How, especially guitarist Jack Maher and excellent use of my favourite venue in Perth, The Roundhouse Theatre by director Adam Mitchell.”

5. This Girl – Rachael Beck

“Bringing star power and more than a touch of class Downstairs At The Maj, Beck sings beautifully, looks stunning, and exhibits a wonderfully self-deprecating sense of humour and playfulness.”

6. Gutenberg the Musical! – Holland St Productions

“… this is a must-see for everybody who has a dream, loves the written word, and enjoys a smart parody of the musical theatre form. Plus hats. If you love hats you'll LOVE this!”

7. Dr. Felicity Rickshaw’s Celebrity Sex Party – Holland St Productions

“One signature aspect of any Holland St Productions show is how film literate the driving creative forces, Tyler Jacob Jones and Robert Woods are. It’s tantalising then that a musical comedy is packed with allusions to well-known recent and not-so-recent movies with ‘cameo appearances’ by many a celebrity, most notably Keanu Reeves (Jones), Madonna (Taylor) and a pitch perfect Meryl Streep (Hutchinson).”

8: Impromptunes: The Completely Improvised Musical - Impromptunes

“One of the beauties of Impromptunes is that no two shows will ever be alike. It’s the genius of the premise that sees a completely self-contained one hour musical performed every night. Not even the cast know what’s going to happen or even what the topic is going to be.”

9: Best Bits - WAAPA

“Two immediate thoughts after having a wonderful time this afternoon with this iteration - The Drowsy Chaperone has to be remounted by WAAPA IMMEDIATELY! and the 2016 MT class give the best critique of The Beautiful Game, bar none. Impressive perception amongst the hilarity.”

10. Sincerely Yours, A New Musical – Stray Cats Theatre Company & Mad Cats Theatre Company

“… this was a mature and accomplished piece of musical theatre with an excellent score and well delivered songs that had some great moments of genuinely affecting dramatic acting.”

Male Performer of the Year - Ashley Roussety

Immediately set the tone as Man in Chair during the opening sequence of The Drowsy Chaperone and gave an immensely warm and entertaining portrayal that powered the show. Amusingly reprised the role narrating Best Bits.

Female Performer of the Year - Lisa Adam

A standout in the wildly uneven Clinton the Musical with a funky and energetic portrayal of the former First Lady. Displayed excellent comedic chops though the last laugh may end up being on us all given recent events.

Special Mentions:

Andre Drysdale (Sincerely Yours, A New Musical and The Beautiful Game)

Stefanie Caccamo (The Drowsy Chaperone and Bring It On)

Stephanie Wall (The Drowsy Chaperone)

Hannah Burridge (Bring It On)

Rachael Beck (This Girl)

Scott Hansen (Footloose)

Kelsi Boyden (Rent)

Thank you and good night!

Richard Hyde

Wicked - Stray Cats Theatre Company & Mandurah Performing Arts Centre (21 May 2016)

It was interesting to watch the response to the announcement last year that the amateur rights to Wicked had been made available. In many quarters there was much excitement that a beloved show was now able to be performed by community theatre groups around the country. This was matched by a healthy scepticism that it could be given justice with all the technical and vocal demands. A professional production had also been recently staged in Perth at the Crown Theatre with the incomparable Jemma Rix as Elphaba and Suzie Mathers as Glinda (who has now joined the West End cast). A tough act to follow.

It was not surprising that Stray Cats Theatre Company was to be the first to mount the production in WA. Director Karen Francis had access to a suitable venue – the Boardwalk Theatre in Mandurah – and had demonstrated the ability to consistently mount large scale, crowd pleasing musicals. Still, having seen the show in Melbourne in 2014 and last year in Perth, I was intrigued how Francis was going to tackle any number of challenges with the staging of such a dizzifyingly complex production.

Any doubts I had were soon put to rest as I walked into the theatre. There was indeed a dragon perched above the stage which came to life as the opening notes were played. The familiar cogs and clock design was apparent in the wings and along the railing to the orchestra pit. The map of Oz was projected onto a scrim. 

As the show progressed there was clever use of scrims, various backdrops, and lighting to facilitate scene transitions. The Bubble Galinda descends on during the opening scene was well rendered and the Wizard’s big talking head was impressively done. Most satisfying was that the first act showstopper, Defying Gravity, where Elphaba rises above Ozians and the audience alike was effectively recreated. Sure, there wasn’t the whizzbangery of its professional forebear but proficient and clever stagecraft and design made for a most credible substitute. My immediate impression was that a lot of time, thought, skill and resources had gone into the construction of the show. That was most appreciated.

This was reinforced by the attention to detail in other elements – the trademark Stray Cats large ensemble was beautifully costumed with a wide range of colourful and quirky outfits; the lighting design took full advantage of the rig at MPAC that no other community theatre venue would be able to match; and the 19 piece orchestra, again of a scale and composition most would fail to accommodate, was excellent under conductor David Hicks. The sound balance was good, and the clarity of the lead vocals was especially strong. There was a little bit of microphone crackle on the odd occasion from secondary characters in movement but the sound design and execution was otherwise very good.

Of course, Wicked relies on the performance of its two leads and in Kimberley Harris (Elphaba) and Lisa Taylor (Glinda) the show had a winning combination that not only sang well but gave strong acting performances. Taylor played the annoyingly bubbly and over confident Glinda with deft comic timing and infectious enthusiasm. Her rendition of Popular was a highlight. Harris brought great acting chops to the ultimate outsider in Elphaba and belted out Defying Gravity in terrific style while being wistful in the softer I’m Not That Girl. They worked well together – Harris’s intensity bouncing off Taylor’s comic shtick – but it’s in the quieter moments where the rivalry turns to friendship that they are most convincing.

The male leads didn’t fare quite as well. Joshua Towns was a lanky and handsome Fiyero but Dancing Through Life lacked flair and felt more mechanical than anything. Unfortunately I wasn’t able to see the complete transition from shallow rebel to committed ally of Elphaba. The storm that ravaged Perth caused a showstopper of its own as the power went out halfway through the second act. Erik Bunch played Dr. Dillamond for laughs and was prone to telegraphing every phrase with grandiose hand gestures. This undercut any sense of pathos for the character. The Wizard himself, Peter Sydney-Smith, also had a tendency to overplay to the audience especially during Wonderful which jarred next to the focus displayed by Harris in that sequence.

Of the other characters, Alyssa Burton, played the larger-than-life Madame Morrible with style while Cassandra Power came into her own as Nessarose at the start of the second act as her now Governess goes through a raft of emotions from being able to walk to reconnecting with Boq to ultimately losing him due to her own impulsiveness. It teetered on being overwrought but ultimately was a strong emotional sequence. Boq himself, played by Braeden Geuer, was a likable presence though the estrangement from Nessarose caught me a little by surprise this time round.

Mother Nature unfortunately had the last word as it proved more powerful than any stage magic. The power outage caused a premature end to the matinee and led to the evening show being cancelled. In response, an extra show was announced for 10am on Sunday for those ticket holders who missed the full show or evening performance.

While I wasn’t able to avail myself of this opportunity what I saw and heard up until that point was a good production of the mega-hit musical. It handled the technical challenges in style and featured two strong performances in the lead roles. It played to Francis’ strengths – big set-pieces with a large ensemble; and was well played by the orchestra. It was refreshing to see the skill on display across all departments to bring such a production to life which is testament to the talent pool in Perth. 

Sincerely Yours... A New Musical - Fringe World 2016 (18 February 2016)

How often are we given a second chance? Do we recognise it when we’re presented with that opportunity? Do we have the courage to pursue it or are there things, or perhaps more crucially, people from the past that stop us from moving forward?

That’s the premise of Sincerely Yours, an original new musical written by and starring current and recently graduated WAAPA students. Interestingly, for a show created by Australian twenty somethings, it is set in America during the early to mid-70s with the Vietnam War providing a significant backdrop.

In its musical style and structure it reminded me of The Last Five Years in that there are two timelines at play, one in the present of what I took to be 1975 and three years earlier when James (Andre Drysdale) and Sarah (Megan Kozak) first meet. These timelines are intercut as we move back and forth, the focal point being Sarah’s emotional state. Unlike the Jason Robert Brown musical, however, this is a three hander where Sean (Jason Arrow) becomes a surrogate for James in the ‘present day’ scenes as Sarah deals with the aftermath of her earlier relationship.

The story starts with Sarah, a talented painter, who is struggling to finish a portrait. A letter is slipped under the doorway to her apartment. She hopes it was James, who she hasn’t seen in some time, at the door.  Flashback three years and we have the ‘cute meet’ as the two children of army personnel meet one New Year’s Eve. James has experienced tragedy in his immediate family and this influences his decisions, notably in regard to Vietnam. The two fall in love but the war and James’ sense of duty to his family eventually comes between them. Three years later and Sarah is still coming to terms with what happened and why, assisted by Sean who encourages her to move on.

This is the third show I’ve seen Megan Kozak in at Fringe. I know her as a fine singer with a real flair for playing comic or quirky characters, particularly in her graduating year at WAAPA with standout performances in the musicals Urinetown and Legally Blonde. What was terrific to see here was Kozak sinking her teeth into a dramatic role where there was real heartache and loss. She acquitted herself admirably which bodes well for an already bright future. There’s no doubting her vocal talent but well rounded acting chops add another dimension.

Jason Arrow, who wrote the Book and Lyrics, has the trickiest role as the third wheel to the central relationship. His character flirts with being unlikeable as Sean takes matters into his own hands at one point. We wonder what the character’s true motives are. It’s a non-singing role so Arrow has to rely solely on his acting skills which, apart from being a little busy with hand gestures at times, is effective as his Sean nudges and gently cajoles Sarah into seeing her second chance.

The revelation though is Andre Drysdale who is superb as James. Not only does he have an exquisite voice that was showcased to great effect in several songs, his acting was first rate. This is helped by being given a clearly defined arc that initially maximised a sense of nice guy charm that he handled effortlessly that then crumbles into recrimination and misplaced anger. It is an impressive launching pad into his third year at WAAPA and I’m keen to see how he does in their upcoming musicals.

The music by Kohan van Sambeeck and Arrow was very good indeed. Predominantly piano and cello driven it heightened the emotional nature of the production and was very well played by Joshua James Webb (piano and conductor), Krista Low (cello), Campbell Ellis (guitar), Samuel Gibson (bass) and Ben Cremer on drums. The only thing I would say is that even with Kozak and Drysdale mic’d up, the more drum heavy elements tended to drown them out in the relatively small space. This meant that some of the lyrics were lost especially in the early going as the story was being set up. 

There were a couple of technical hitches - Kozak’s microphone was giving noticeable echo and times when a performer was left in darkness with the lighting design. Some adjustments to get the sound clean and balance right would enhance what was a lovely score and character driven songs.

I did have some issues with the Book. The phrase ‘a second chance’ was overtly referred to far too many times. That’s the theme and would be better utilised as subtext. The overuse as text ultimately watered down its impact. There was a reference that the war was going to start but of course America (and Australia) had long been in Vietnam before the decade started. I didn’t believe that Sarah could possibly be the bearer of bad news at one point given how such things would be handled by the military. They’re minor things but tended to wrench me out of the story. There was also a critical scene between Sean and Sarah where the former takes something from the latter and ruins it. While I understood the intent it’s a tricky sequence that didn’t quite work and flirts with damaging Sean as a character.

Those things aside this was a mature and accomplished piece of musical theatre with an excellent score and well delivered songs that had some great moments of genuinely affecting dramatic acting. It’s a pity that the song titles weren’t included in the otherwise nicely presented programme. 

Sincerely Yours by Stray Cats Theatre Company and Mad Cats Theatre Company is on at Studio 411 (formerly the Drama Workshop) at Murdoch University for only two more performances, 7pm Friday and Saturday.

Top Ten Theatre Productions in 2015 - Musicals & Cabaret

It was an outstanding year for musicals and cabaret in 2015. From big touring productions such as Les Miserables and Wicked to the continued excellence of WAAPA's world class music theatre course there have been many tremendous shows. This has been supported by independent companies such as Stray Cats Theatre Company and Fresh Bred Productions who are mounting big productions catering to different audiences. Black Swan even got in on the act this year with the rock musical Next to Normal and the Regal Theatre continues to host a range of productions.

This made finalising the list quite difficult but here is my Top Ten for 2015:

1. Urinetown (WAAPA)
I adored this show. From the moment it opened the satirical tone had me in its clutches and the ferocious choreography sealed the deal. Outstanding.

"What a thrill to have a show grab you by the throat from the opening moments and not let go until the cast is taking well deserved bows. This is a spectacular production of a very funny and irreverent musical and I have to say, it knocked my socks off."

2. Les Miserables (Crown Theatre)

What more can be said about the fabulous Les Mis? Simon Gleeson and Hayden Tee headline a stellar cast, half of its number including Gleeson having graduated from WAAPA. 

"For rousing songs and sheer theatrical spectacle Les Miserables is hard to beat and this production has quality in every department."

3. Legally Blonde (WAAPA)

Such a colourful, energetic and joyous production, this showcased a fabulous graduating class to full effect.

"WAAPA’s mid-year musical theatre production has become a highlight of the Perth theatre calendar as they throw their considerable talent and resources – performers, musicians, set designers, costume designers, production department and many others into crafting a professional level experience both for its students and the audience. The results here, as with last year’s West Side Story, are impressive and wildly entertaining."

4. Next To Normal (Black Swan State Theatre Company)

I finally discovered that there is an orchestra pit at the Heath Ledger Theatre. And that Rachael Beck is a star. 

"Next to Normal stands out for the fact that its subject matter is challenging and under-serviced, certainly in musical theatre form. It demands that the acting from the performers is as good, if not better, than the singing requirements. The cast here deliver in spades with a potent mix of excellent songs, a great score, and a fully formed narrative arc for its central character that is as harrowing as it is gut wrenching."

5. Music Theatre Showstoppers (WAAPA)

The cast of Les Miserables doing a concert singing some of their favourite musical theatre songs? This only confirmed that the talent of that cast, top to bottom, is outstanding in a wonderfully entertaining evening. 

"Take the cast of Les Miserables, half of whom are WAAPA graduates; their musical director Geoffrey Castles along with four other members of the orchestra; throw in a little star power with event patron Ben Elton; add the enthusiasm and organisational skills of Eponine herself (Kerrie Anne Greenland) and you end up with what can only be described as a spectacular fundraising concert at the Geoff Gibbs Theatre. The sheer magnitude of talent on display was breathtaking."

6. Assassins (Midnite Youth Theatre Company)

Staged in the intimate studio space at the Subiaco Arts Centre I loved the full tilt approach to this most audacious of concepts for a musical. 

"What I loved about this production is that all involved attacked it with total commitment and absolute ferocity. There is incredible intensity in the darker hued characters that is matched by some standout comic performances as this rogues’ gallery improbably comes together, ultimately, in a wonderfully written sequence, to convince one of their confreres to commit perhaps the most famous assassination in American history."

7. Sweeney Todd: The Demon Barber of Fleet Street (Fresh Bred Productions)

Another Sondheim and this one was beautifully sung and played at the palatial Joy Shepherd Performing Arts Centre. 

"... this is a fine production of a tremendous piece of musical theatre. I understand months of preparation and rehearsal have gone into making this show a reality and it shows. Congratulations to all involved on taking a risk with such a huge undertaking for independent theatre and pulling it off."

8. Point and Shoot: Farewell Show (Holland St Productions)

After touring the production on the eastern seaboard to further acclaim, this farewell show before heading to Brighton was so tightly executed that it couldn't help but make its way to this list.

"It would be fair to say that after witnessing the show for a second time that it is my favourite piece of original content generated out of Perth (in all formats) for quite some time."

9. Chitty Chitty Bang Bang (Stray Cats Theatre & Mandurah Performing Arts Centre)

Completing a trilogy of big family friendly musicals after Oliver! and Mary Poppins this was an entertaining and fun show that exhibits all of director Karen Francis' signature traits - crowd pleasing, big casts, visually sumptuous and well performed.

"If one of the roles of community theatre is to engage with and entertain its local residents then these productions are among the finest examples we have in the state. Usually a run will only be four to five shows over one weekend but they are always well attended and sit comfortably in the spacious Performing Arts Centre."

10. Spring Awakening (Fresh Bred Productions)

Immediately after the completion of the show I went home and bought the original cast recording which has been on high rotation ever since. An outstanding collection of songs well sung in one of the most surprising adaptations to a rock musical ever.

"Matching the musicians was the vocal talent on display. This really was a strong cast from a singing perspective – the featured vocalists excelled and were given tremendous support from the ensemble."

Female Performer of the Year - Rachael Beck

Not only was Beck's singing excellent, it was her acting that really impressed in Next To Normal. She commanded the stage throughout but worked so well with the rest of the cast to bring a complex arc to life.

Male Performers of the Year - Simon Gleeson

A towering performance in the role of Jean Valjean and his Bring Him Home almost had me in tears. Again. Damn it!

Special Mentions:

Elethea Sartorelli - Excelled as Mrs Lovett in Sweeney Todd with Cockney accent in place, and a real energy to her performance that threatened to steal the show.

Megan Kozak - A powerhouse turn in Urinetown was matched by an equally impressive performance as Brooke in Legally Blonde. 

Jacob Dibb - Another performance from Urinetown that was compelling. Dibb showcased a terrific voice and played Bobby Strong with a straight ahead earnestness that worked so well.

Madeline Crofts - A standout in Spring Awakening as Wendla Bergmann, Crofts also popped up as Johanna in Sweeney Todd and perhaps most impressively gave a hilarious and feisty performance in the original musical How We Ruined MacArthur's Markers.  

Kate Thomas - Thomas sank her teeth into the star role of Elle Woods in Legally Blonde. She looked fantastic in Elle's signature outfits and sang beautifully in an assured performance. 

That's it for 2015. Hope everyone had a great Christmas and I look forward to seeing you all at the theatre in the new year! 

Chitty Chitty Bang Bang - Stray Cats Theatre Company & Mandurah Performing Arts Centre (17 October 2015)

It’s a familiar scene - parents and children milling around performers fresh from their final bows asking for autographs and posing for photos. Not only the stars mind you but members of the ensemble are there as well to greet family, friends and audience members. It’s an impressive sight. The children all excited as they clutch the programme with a whole back page devoted for autographs. The cast are still in costume and makeup, no doubt amped with adrenaline immediately after the matinee performance. There’s a real buzz in the air.

Stray Cats Theatre Company and the Mandurah Performing Arts Centre sure know how to put on a crowd pleasing, family friendly spectacle. This is the third in what I’ll refer to as Stray Cats’ Classic English Family Musical Trilogy that commenced with last year’s Oliver!, continued with Mary Poppins earlier this year and ended with a punctuation mark as Chitty Chitty Bang Bang took flight.

If one of the roles of community theatre is to engage with and entertain its local residents then these productions are among the finest examples we have in the state. Usually a run will only be four to five shows over one weekend but they are always well attended and sit comfortably in the spacious Performing Arts Centre. The local community support is excellent and the venue is a jewel only an hour south of Perth. That support is rewarded with outstanding entertainment.

As I was sitting upstairs in the front row of the dress circle looking down on the opening scene it struck me that these shows are the only time I see upwards of 60 performers on stage. It simply doesn’t happen anywhere else. Laudable is how many are young children. Even more remarkable is the attention to detail for the costuming of every single person on stage from the youngest to the oldest. There’s no scrimping here. They all have a role and they all look the part.

Director Karen Francis always dares to be ambitious in the scale of her productions; from the large casts to the impressive sets and lighting design to the choice of musical itself. Visually they are a feast. This was full of wonderfully colourful backdrops and the transition between scenes was slick as set components were dropped in behind a temporarily lowered screen as the orchestra played on. The centrepiece though was the car itself. Beautifully recreated and functional it drew appropriate applause when it lifted, tilted and ‘sprouted wings’ with the Potts family and Truly on-board. 

An occasional criticism I have had in the past is that the orchestras for these productions can be variable in quality. Any fear of this was quickly dispelled in the Overture. Under the baton of assistant musical director Vanitha Hart they played very well; the best musical accompaniment since 2012’s Hairspray for mine.

To the performances and a few of the headliners from Mary Poppins featured again. Jon Lambert played Caractacus Potts, another father with two precocious children and, dare I say it, using the exact same accent as his Mister Banks. This was only a minor complaint, quickly forgotten, as he gives yet another charming performance. Lambert’s solo number Hushabye Mountain was his standout vocal moment and a highlight of the show.

Kristie Gray’s run of memorable characters continues moving from Mary Poppins to Truly Scrumptious with aplomb. Gray has a beautiful singing voice with excellent clarity and power; the featured solo Lovely, Lonely Man a highpoint as was her Doll On A Music Box. In terms of singing ability she was closely followed by Kim Moore as Baroness Bomburst who featured in flamboyant number The Bombie Samba and worked well with Joshua Towns (as the Baron) in Chu-Chi Face.

Further Mary Poppins alums, Daniel Nixon and Nicholas Gaynor, provided great humour as the bumbling Vulgarian spies tasked to acquire the flying car. Scott Hansen added some vaudeville style menace as the Child Catcher while Rory Ellis was solid as the Toy Maker. Then there were the Potts children played with great flair by Sebastian Cruse and Marissa Pereira.

There was plenty of colour and movement epitomised by another highlight - Me Ol’ Bamboo - and the aforementioned The Bombie Samba. In many ways it’s a silly story with plenty of farce but darker moments as well as we discover the children banished to the sewers. It all has a happy ending with the audience clapping along to the title number as the family fly safely home.

Chitty Chitty Bang Bang is fabulous family entertainment and I felt quite invigorated as I left the venue. It comes as no surprise to me then that Francis has acquired the amateur rights to the blockbuster Wicked, the definition of a big, crowd pleasing musical. Given her track record it will be fascinating to see how she tackles the technical requirements to make that show literally fly as well. On the evidence of Chitty Chitty Bang Bang it will be something to see!

Originally written by Ian Fleming with the script adapted by Ray Roderick from the MGM Motion Picture of the same name; Music by Richard M. Sherman and Robert B. Sherman; Directed by Karen Francis with Choreography by Ashleigh Riley and Megan Doohan, Musical Direction by David Hicks and Vocal Direction by Kristie Gray; and starring Jon Lambert, Kristie Gray, Sebastian Cruse, Marissa Pereira, Peter Sydney-Smith, Nicholas Gaynor, Daniel R Nixon, Kim Moore and Joshua Towns.  

Mary Poppins: The Broadway Musical - Stray Cats Theatre Company & Mandurah Performing Arts Centre (24 May 2015)

The evening before the Sunday matinee I was walking along the Mandurah Boardwalk and there was a group of young teenage girls in front of me all singing Chim Chim Chere-ee. “This is an encouraging sign”, I thought to myself. So it proved with the final outing of a five show run packing out the spacious Mandurah Performing Arts Centre with a high proportion of children in attendance. The cacophony at intermission was quite something as was the excitement after the show with many of the cast still in costume including Mary Poppins herself emerging to pose for photos and sign autographs. Fair to say the children loved it with more than a smile of remembered childhood from their parents.

There is no doubt this is a glorious production to look at – from the colourful costuming of the massed cast to the detailed backdrops to the multilevel set itself depicting the Banks household – there was an audible gasp when the stage curtains first opened. Director Karen Francis certainly likes to put on a spectacle and the scope and ambition of her big, crowd pleasing musicals is both a joy and proven formula to attract a crowd. More power to her for the ongoing results, creatively and one would hope, financially to sustain the run of productions other independent theatre companies simply don’t have the resources to mount on this scale.

In Kristie Gray she has a performer who shines in the eponymous role made most famous by Julie Andrews in the Disney movie. Gray has a wonderful voice that did more than justice to the cavalcade of beloved songs. An accomplished singer, she also provided the vocal direction for the some 50-60 cast members. What was equally as impressive was her commanding stage presence – there was a confidence here that really galvanised the whole show. Her work with the Banks children played by Sebastian Coe and Maren Cosby was particularly excellent.

Daniel R Nixon portrayed the chimney sweet Bert with real cockiness and flair while Helen Kerr was a standout as Winifred Banks, the wife and mother who struggles to find her own identity next to husband George (Jon Lambert) and within his social circle. Both have fine singing voices as well; Nixon bringing the Cockney, Kerr the sweetness in their feature songs, Chim Chim Cher-ee and Being Mrs. Banks respectively. 

Lambert has perhaps the unenviable task of playing the distant Mister Banks whose emotional detachment is at the core of most of the obstacles the family face. He does so with a certain gruffness and exasperation that is likeable in its own way. The character’s preoccupation with events at the bank where he works is paid off nicely with a funny burst of manic energy as Lambert lets Banks finally loosen up.

Coe and Cosby were suitably wide-eyed or precocious as required and there was a set of colourful characters Mary Poppins and her charges encounter along the way, foremost among these being Bronwyn White’s Miss Andrews who is the closest thing to being the villain of the piece in an over-the-top portrayal that was amusing and eardrum threatening! Jeanette Southall’s featured song as the Bird Woman was cruelled by her microphone cutting out halfway through Feed The Birds so I was pleased when she was able to be heard in a brief reprise in the second half. Jo Bickford and Nicholas Gaynor added physical comedy as the hired help and Brad Tudor high camp as Mrs Corry.

The scene transitions were very slick and Francis likes to fill the stage with a big ensemble full of colour and movement (Choreography by Andrea Beissel) for the main set pieces. The highlight undeniably is Supercalifragilisticexpialidocious where the massed cast found an entirely new gear and really attacked the lyrics and choreography with relish. This is later reprised at the end of the musical and it was an energy level that I would have liked to have seen a little more of throughout. The other major highlight for me was Step In Time with Bert and the other chimney sweeps singing on a well depicted rooftop. Beautifully lit and performed it was quite an evocative moment. 

Finally, the 12 piece Orchestra under the baton of Conductor David Hicks generally played well though occasionally the brass section felt a little out of sync for mine.

The star, however, is Gray as the flying nanny and indeed she does, albeit briefly, with the aid of a harness. The children loved it along with the flying kites, the movable statues and the brief appearances of a real life dog that, if I’m not mistaken, once belonged to a certain Dorothy Gale in another time and on another stage! 

This was a fun production of an enduring family classic that was enthusiastically applauded as the cast took well deserved final bows.