Miranda Musical Theatre Company: Mary Poppins - Review by Benjamin Olivera

There’s something undeniably magical about seeing a beloved classic brought to life on stage, especially when it’s done with heart, energy, a clear love for storytelling and a supercalifragilistically talented cast. “Mary Poppins”, with its whimsical charm and timeless tunes, is no small feat to tackle, but Miranda Musical Theatre Company rises to the challenge with a production that is both ambitious and endearing. While not without its small technical imperfections, as is common for an opening night, this staging delivers a thoroughly entertaining night out, full of colour, character, and just the right sprinkle of theatrical magic.

Photography courtesy of Grant Leslie Photography

Under the bold yet precise direction of Tamer Morris, assisted by Amelie Downie, this production of Mary Poppinsstrikes a careful balance between spectacle and sincerity. Every scene is thoughtfully staged, with a clear eye for visual storytelling and emotional pacing. The transitions are smooth, the ensemble is well-utilized, and Morris & Downie’sconfident hand ensures that even the show’s most whimsical moments remain grounded in character and purpose. Rather than simply replicating the film or West End versions, this interpretation makes deliberate, creative choices that bring freshness to the familiar, and ultimately allowing the story to shine in a way that feels both respectful and newly inspired.

Stepping into the role of Mary Poppins is seasoned performer Isabella Schroder. If you asked for my simple review of her performance, I would say this: 5 words. Practically perfect in every way. Schroder embodied the character of Mary Poppins every time she entered the stage and handled the role with such grace and poise. Her voice was clear, crisp and commanding, blending well with every character she sung with. She also added a sharp-witted, quick quality which is often overlooked when focusing on the role of Mary, however this clever choice made her character multi-dimensional and highly engaging to watch. I cannot sing her praises highly enough, watch this name closely because it certainly won’t be the last time you’ll see it in Australian theatre. Acting alongside her as Bert is the amazing Ethan Fuller. Fuller handled the complex task of narrator and comedic-relief with ease as he had the audience in the palm of his hand. He was also able to mask some slower set changes with quick and clever choices on stage that were able to tap into the world of the show. His character was equal parts lovable and sentimental and he had the vocal chops to match, specifically in the tap heavy “Step In Time” which he breezed through like it was a simple everyday task.

Photography courtesy of Grant Leslie Photography

As Jane and Michael Banks, you have the most adorable Florence Gibara and Eric Trenear. Both of these children deserve equal, if not more, accolades to the rest of the cast as they were able to effortlessly handle the challenging role of the cheeky and lovable children. Their vocals are cheerfully present in the space and some of their acting choices had me in stitches. Special shoutout to Trenear for his clever improvisation when the magic didn’t exactly go to plan. Both of these children have performing instincts that many actors train very hard to obtain and should be highly commended for their great performances.

Anthony Gibara and Phoebe Barnett play Mr and Mrs Banks respectively and are able to engage the audience throughout despite their quite emotional character arcs. One of the differences with the stage show is that it puts more emphasis on the parental relationship and the sacrifices made compared to the 1964 original movie. However, both of these actors are well and truly up to the challenge. Gibara has an off-putting stand-offish presence which is extremely true to his character. The vocals to compliment this performance were extremely grounded yet beautiful, complimenting his acting well whilst still building layers to the character. Barnett is quite astounding as she plays the well-behaved wife very well. Her rendition of “Being Mrs Banks” was truly moving and her chemistry with Mr Banks, the children and Mary was evident, true and real. Another standout performer in an already extremely talented cast!

Rounding out the chaotic Banks household is Michelle Harley & Joshua Harrison as Mrs Brill and Robertson Ay. These two characters, often played as comedic reliefs, were played with precision and order with the right balance of slapstick and sillies. Harley was clearly a confident, impulsive and almost patronising woman to the men in the household which was a refreshing take all things considered in this show. Harrison played the silly, slapstick, goofy butler with control and order, never verging into pantomime or making his gestures unbelievable which is a hard thing to do when playing such a character. Even his gorgeous tenor voice could be lightly heard on top of the family songs providing a gorgeous harmonic line. Both of these performances were very strong and were very enjoyable to watch.

I’d also love to give a quick shout out to both Melissa Bush and Michele Lansdown who play the Bird Woman and Miss Andrew. Both of these women have beautiful and commanding soprano voices that bring two very polarising characters to life in their own way. They were definite stand outs in this cast and their years of experience and professional training are evident on stage. Brava! Also, William Christie as Neleus & Valentine was a strong dancer to be reckoned with and commanded the stage with his presence, leading the strong ensemble behind him as he transported the audience into the magical worlds that he was a part of.

The musical direction by Matthew Herne (assisted by Sophie Szecsodi) is confident and polished, bringing energy and warmth to the show’s iconic score. From the first downbeat of the overture, my jaw was agape as to the crisp quality of the band which is a tribute to Herne’s hard work and dedication to his craft. The orchestra delivers a vibrant sound that supports the cast beautifully without overpowering them, and tempos are well-judged to keep the pacing lively whilst still taking time to relish in musical motifs. From rousing ensemble numbers to tender solos, the music remains one of the production’s strongest assets, enhancing the emotion and charm at every turn.

Photography courtesy of Grant Leslie Photography

The choreography, created and rehearsed by Hannah Barn(assisted by Emma Stewart) in this production is lively, well-executed, and full of character, adding an extra layer of storyline, characterisation energy to the show’s big musical numbers. Numbers like “Step in Time” and “Supercalifragilisticexpialidocious” are particularly impressive, showcasing precise timing and clever use of the large Pavillion Theatre, especially with minimal set. The movement feels purposeful throughout, capturing the playful spirit of the story while making great use of the ensemble’s strengths. It is extremely difficult to choreograph a complex show like this, especially with such a big cast. However, it is even more difficult to make it appear that there are no weak dancers within a cast or that there is ‘simpler choreography’ used. Both Barn and Stewart are incredible in their own right and this show is the perfect example of the work ethic, dedication and passion that they put into their craft.

The costumes in this production are a true visual delight and might be my favourite part of the show (well… second to the cast!). They are bright, insanely detailed, and bursting with character. Each outfit feels thoughtfully designed to reflect the personality and era of the characters, from Mary’s crisp, iconic look to the colourful vibrancy of the ensemble when they appear as toys, statues and even townspeople. The attention to detail is remarkable, adding richness and depth to every scene while enhancing the show’s whimsical, storybook feel. Massive shoutout to Joanne Furnari and Roz Manueland their incredible team.

The set design is gargantuan and extremely detailed and impressive as well as being cleverly functional, capturing the magical world of Mary Poppins with warmth and imagination. From the Banks’ beautifully detailed home to the vibrant streets of London aided by projection, each location is brought to life with thoughtful touches and smooth transitions. The use of space is smart and versatile, supporting the action without ever feeling cluttered, and adding to the overall enchantment of the production. The crew should also be commended for their transitions of the set as it is a difficult task to pull off, especially considering the size

The lighting design is subtle yet highly effective, enhancing the mood and magic of each scene with precision. Warm, inviting tones bring the Banks’ home to life, while dynamic shifts in colour and intensity heighten the energy of big musical numbers and more fantastical moments as well as colour schemes that emphasise characters in Act two. There were some slightly delayed lighting cues as well as some performers who struggled to find their light, however I am sure that as the show week has progressed, these have been ironed out to align with the rest of this stellar production.

The sound design is clear and well-balanced, ensuring that vocals, dialogue, and orchestra blend smoothly throughout the performance. Microphone levels are consistently well-managed, allowing every lyric and line to be heard without distortion or dropouts. Sound effects are used sparingly but effectively, adding just the right touch of magic when needed. Often, I do critique the audio in a review, especially on an opening night but in this case, the audio team have done a fantastic job! Well done.

Overall, Miranda Musical Theatre Company’s production of the classic “Mary Poppins” is a heartfelt and high-spirited production including performers of all ages and backgrounds that will delight audiences of all ages and backgrounds as well. It is the pinnacle of theatre made by the people, for the people. With strong direction, committed and near-flawless performances, and a clear passion for the material, it captures the essence of what makes this story so enduring. It is a truejoyful reminder of the magic that community theatre can bring to everyday life, and maybe a spoonful of theatre of this calibre is just what we all need in our lives. Well done all!