Follow. One can have too many foreboding chords. Mary Poppins, Prince Edward Theatre review - a lavish but old-fashioned revival |. Claire Moore is so good as the gorgon Miss Andrew you have to like her, while Malinda Parris has infectious charm as the witch who has the power to recall the past. act, Stemp is a thoroughly charming presence here, and his talents are put to great use; why not have Bert doing multiple pirouettes and a flying split leap off a chimney if you can? Rating: 4 out of 5 ... umbrella aloft, feet neatly together, Mary Poppins is back, to bring magic to Christmas and order to a disordered nation... oops, sorry, home. There’s also a hectoring, moralising tone that grows wearying; in one particularly unsubtle lesson, Mr Banks is asked to choose between investing in the northern factory of Mr Northbrook or the financial scheme of Von Hussler. Mary Poppins, Prince Edward Theatre review - a lavish but old-fashioned revival Everyone's favourite nanny returns, again. Which is not to say that a message of valuing goodness over greed isn’t hugely welcome right now, but you can deliver such ideas with an imaginative spoonful of sugar, rather than po-faced preaching. Click on the banner to find out more. There is good work from Joseph Millson as the moody Mr Banks, Amy Griffiths as his frustrated wife and Claire Machin as a cook who, unsurprisingly since the book is by Julian Fellowes, seems to have stepped out of Downton Abbey. (Harold Pinter Theatre). And it really couldn’t come in any finer form than the return of Mary Poppins to the West End, to the Prince Edward Theatre where it … You will not find a more theatrically escapist outing in London this winter. Crowley also switches beautifully between a Raoul Dufy-like riot of colour for the number Jolly Holiday and an austere grisaille for the scenes in the financial institution where Mr Banks works: I’d never noticed before the image of Cratchit-like clerks inscribed on the sloping columns, which gives the place a Dickensian aura. Prince Edward theatre, LondonZizi Strallen is excellent as the buoyant nanny in Eyre’s chippy and enduring show, which also calls on Julian Fellowes, Matthew Bourne and Petula Clark, Wed 13 Nov 2019 17.00 EST There is phenomenal choreography by Matthew Bourne and Stephen Mear: Mary proves a dainty dancer, statues in the park come balletically to life and, in the fabulous Step in Time, chimney sweeps create sooty mayhem while Bert pulls off the impossible – tap-dancing upside down from one end of the proscenium arch to the other. Given that the musical elsewhere features overt contemporary thinking like the value of raising children with kindness and understanding instead of bullying discipline (a sentiment applied as much to the psychologically stunted Dad), it’s a disappointingly regressive choice. The ecstasy, which is the hallmark of a good musical and which I initially found in short supply, is now present in at least three of the numbers. But the mood keeps changing and Petula Clark (a casting coup) sings Feed the Birds with perfectly judged plaintiveness. News & Reviews; Theatre Clubs. She has sparkling eyes, a radiant smile and a carpet bag. She’s a bit more temperamental than the Disney version, and he’s a terror, but their sense of wonder is lovely. Hannah Bristow’s Hero is vividly realised and conveys, with dropped jaw, an almost cartoon horror when wronged. Bob Crowley’s playful design is variously undaunted: he gives us a doll’s house for grown-ups in Cherry Tree Lane, a grand black-and-white artist’s sketch of St Paul’s and lively rooftops. Well, yes and no. Review of Prince Edward Theatre Reviewed 9 November 2019 via mobile Fabulous stage show, really enjoy going to the theatre and this show is a must, dancing was superb and airel flying very brave Date of experience: November 2019 Back at Cherry Tree Lane, an excellent Amy Griffiths shines as a neurotically plausible Mrs Banks while Joseph Millson convincingly evolves as Mr Banks – losing almost everything before learning to become himself. The show is playful, inventive but over-directed (over-direction is just as possible as overacting). Royal National Hotel: Mary Poppins Musical in Prince Edward Theatre - See 10,018 traveler reviews, 2,503 candid photos, and great deals for Royal National Hotel at Tripadvisor. Prince Edward theatre; ... Sun 17 Nov 2019 05.30 EST Last modified on Thu 26 Mar 2020 08.26 EDT. Add in Petula Clark’s haunting bit as the Bird Woman (happy birthday, as she turned 87 yesterday), and you have a decent team of leads. Dorothea Myer-Bennett’s Beatrice slops about in T-shirt and baggy trousers with the look of someone inured to hangovers. Bob Crowley’s beautiful sets act like a pop-up book or a doll’s house opening up to reveal its elegantly costumed inhabitants (Poppins’ impeccable coats are especially covetable), and there are lush transformations like a gloomy London park suddenly bathed in light and technicolour for “Jolly Holiday” (pictured above). He lightly underscores a non-Edwardian dilemma, reminding parents of the challenge of finding a perfect work/life balance. However, Joseph Millson brings genuine pathos to the crumbling patriarch, and Amy Griffiths makes the most of Mrs Banks’s few spirited moments (the family pictured above). Disney and Cameron Mackintosh’s multi award-winning musical MARY POPPINS returns to its original West End home at the Prince Edward Theatre from 23 October 2019. The result is a polished but tonally uneven product – bloated at two hours 45, and with some additions looking like very trimmable filler.Admittedly, it’s a tough ask to match a cherished childhood film, gilded with nostalgia, and several changes here actually bring the show closer to Travers’ books – including the entry of a fearsome rival nanny, and a statue brought to life who conveniently shares the Banks children’s absentee father woes. Much Ado About Nothing is a “skirmish of wit” and ought to have been light relief, but this production was like being at a party where not enough funds have gone into the catering. Great Seats, Great Prices, ... Mary Poppins (Prince Edward Theatre) The iconic musical makes a welcome return to the West End. The party turns into a fancy-dress bash in which all the characters are, unaccountably, kitted out as superheroes. She shows how insults can be a kind of foreplay and Geoffrey Lumb’s Benedick, one of nature’s swaggerers, proves a good foil to her, even if he labours the self-referential side to his character. Registered office: 1 London Bridge Street, SE1 9GF. It’s been 15 years since Cameron Mackintosh’s stage musical version of P. L. Travers’ Mary Poppins made its West End debut. But the evening is, above all, an opportunity to reflect on the peculiarity of Mary Poppins herself. The big test for Culture Recovery Fund winners: will they use it for change? The polysyllabic song that starts with “super …” also becomes a word-spinning Cockney bacchanal. Jasper Britton brings an thoughtful intensity to Becket and the women of Canterbury perform with admonitory fluency – at home with doom – although they could do with paying more nuanced attention to individual lines. It does have to be said that there were still some slight sound issues last night, as reported during previews, and I hope these can be addressed soon: they are not enough to detract from the enjoyment of the show, but still enough not to go unmentioned. But the big set-piece is the tap-based “Step in Time” (, ), climaxing with Stemp doing a Donald O’Connor by walking up a wall and then tap-dancing upside down. Admittedly, it’s a tough ask to match a cherished childhood film, gilded with nostalgia, and several changes here actually bring the show closer to Travers’ books – including the entry of a fearsome rival nanny, and a statue brought to life who conveniently shares the Banks children’s absentee father woes. But Myer-Bennett does her accomplished best to hold the show together and brings vitality, ruefulness and, occasionally, a convincing hysteria to the role. Every movement she makes is balletic – she doesn’t just exit from a room but floats out of it with arms extended. Winifred and George are having a tough time with their naughty children, Jane and Michael, and their nanny has quit in light of the kids’ appalling behaviour. We have watched her neat figure ascending skywards holding the umbrella with the green parrot’s head so often – in PL Travers’s books, watching the 1964 Disney film and in the recent sequel – her back ramrod straight, her hair glossily black as a wooden doll’s. 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