Matt Byrne Media. The Arts Theatre. 3 Jul 2015
Lauren Potter arrives onstage in a flurry, adorned in a tailored green velvet coat with trademark parrot head umbrella and laced leather boots with a perfect turn-out. Potter’s Poppins is practically perfect in every way, and her arrival signals a significant lift in the show thus-far. She truly makes it.
Opening in Adelaide this week, it is Matt Byrne Media’s South Australian Premiere of Mary Poppins that has Potter landing at the Arts Theatre. The audience is unusually loaded with preadolescents, joining their parents and grandparents to witness the magical story which inspired theirs and the imaginations of thousands world-wide.
It’s a tough ask to recreate a story that means so much to so many. Potter makes it so. She is supercalifragilisticexpialidocious, and whenever she graces the stage the scenes are thoroughly ‘spit-spot’. Her excellent performance however is just not quite enough to save the show from desperately long scene changes, and a general lack of pace – particularly during the dialogue.
The remaining ensemble cast are consistent; solid performers with a few standouts amongst them. Megan Humphries’ scenes as Miss Andrew deliver the gusto the show is really craving. When Humphries performs opposite Potter the energy is electric. Penni Hamilton-Smith and Callum Piotr Byrne, as Mrs Brill and Roberson Ay respectively, create loveable characters that inject a little life and laughter. Chris Bussey’s Bird Woman performance and rendition of Feed The Birds is both poignant and heart-warming.
The Banks children, Michael and Jane, are well crafted by Sebastien Skubala and Shalani Wood. Whether working off each other, or individually these two youngsters perform with self-assurance beyond their years and truck loads of talent.
Brendan Cooney imbues Bert with cockney charisma; Ellonye Keniry’s Winifred Banks has some effecting moments; and James McCluskey-Garcia’s George Banks starts to shine in the second act when his characters stern veneer begins to crumble.
Byrne’s design goes some way to solving the complicated locations and changes required in the show, but it also hinders much of the flow. The lighting design (Mike Phillips and Ian Barge) was confusing and poorly executed; often washing out the projected backdrop; a mix of the wrong colours; cued late or altogether incorrect; and occasionally leaving performers in the dark.
The choreography, by Sue Pole, also feels short of the mark, not delivering the energy the show needs to get us bopping in our seats. There are some moments of production genius where all of the elements work in perfect harmony; the silhouetted chimney sweeps in tableau on the roof tops against the digital background for Step In Time, is a particular highlight. But these moments are few and far between, and any momentum is quickly lost by the following scene change. Gordon Combes’ musical direction has drawn the best out of his singers, and the orchestra are tight. Sue Winston and her costume team have smashed it out of the park; Winston ought to be in line for another award nomination.
Overall, it is frustratingly close as a production; one that has all the makings of a good show. If the run tightens up and the set and light cues are improved it will get there. Just prepare the kids for a late one.
These shows don’t often make it to Adelaide due to our reluctant local audiences. Support local theatre and do book a ticket.
Paul Rodda
When: 2 to 18 Jul and 23 Jul to 1 Aug
Where: The Arts Theatre and The Shedley Theatres
Bookings: mattbyrnemedia.com.au, 8262 4906 or bass.net.au
