Review: Scotch College’s Disney’s Mary Poppins the Musical at The Queens Theatre

If there’s one thing that can brighten a winter’s night faster than a spoonful of sugar, it’s Scotch College’s utterly charming production of Disney’s Mary Poppins the Musical. Directed with a mix of polish and playfulness by Melissa Sheldon and Stephanie Thompson (who also brought her signature flair to the choreography), this was a show that floated into the audience’s hearts with a twinkle in its eye and a skip in its step.

From the moment the orchestra struck the first chord under the assured baton of music director Martin Cheney, we knew we were in good hands. Cheney drew out all the richness and sparkle in the Sherman brothers’ iconic score, balancing lush, full-company numbers with moments of gentle intimacy.

Lucy Stirling was Mary Poppins – practically perfect in every way. With crystal-clear vocals, razor-sharp timing, and a poise that never faltered, she sailed through the Banks family’s troubles with the grace of a kite on a breezy day. Her chemistry with Asher Gordon’s endlessly likeable Bert was delightful; Gordon charmed the audience with an easy grin, deft footwork, and a knack for making us believe he could really walk up a wall. Then he actually did!

Gordon’s aerial choreography was pure theatrical magic – swooping, gliding, and dancing mid-air that made the audience’s collective jaw drop.

Harry Geary brought gravitas and heart to George Banks, charting his journey from buttoned-up banker to tender father with great nuance. Grace Pannell was a warm and dignified Winifred, imbuing her songs with emotional depth. The young performers, Poppy Warren as Michael and Zoe Windle as Jane, were nothing short of scene-stealers – full of sass, energy, and comedic precision.

Comedy was also in abundance thanks to Elliot Purdie’s bumbling Robertson Ay, a masterclass in physical humour, and Jasper Darwent’s delightfully frazzled Mrs Brill, whose every moment on stage landed a laugh.

Supporting roles of Bird Woman, Miss Andrews, Miss Lark and Miss Corry were played with sincerity, strength, humour and dynamism respectively by Isabella Buley, Charlotte Venning, Kaylin Hausleitner and Siena Turner.

The ensemble, meanwhile, was a force of nature – seamlessly transforming from chimney sweeps to park strollers to a kaleidoscope of colour in “Supercalifragilisticexpialidocious.” Their energy never once flagged, and the precision in the choreography was a testament to Thompson’s clear, creative vision.

Visually, the production was a feast. Megan Venhoek’s set combined storybook whimsy with practical magic – doorways that led to surprises, rooftops you wanted to dance across, and scenic moments that made the audience audibly gasp. Kellie Jones’ costumes burst with character and colour, moving from Edwardian elegance to playful pops of fantasy with ease. Lighting design, subtle yet striking, painted each scene with just the right mood, from the cosy glow of Cherry Tree Lane to the moonlit shimmer of “Step in Time.”

While technical issues dampened Act 1 slightly, the students demonstrated their incredible professionalism by not skipping a beat.

By the time the final note rang out and Mary took flight (yes, she really did), the audience was on its feet, swept up in the sheer joy of it all. This Mary Poppins didn’t just entertain – it reminded us of the value of kindness, imagination, and a dash of the extraordinary.

Scotch College, you’ve given us more than a show. You’ve given us a night to remember. And as Mary herself might say – it was supercalifragilisticexpialidocious.

4.5 stars

Lia Loves.