Mary Poppins – Review – Bradford Alhambra Theatre

By Sue Dean, May 2025

Before a single note is sung or chimney swept, Mary Poppins makes its intent clear: this will be no ordinary revival. Projected across a velvet curtain is the title in sweeping script, set against a silhouetted London skyline with glowing windows and curling chimney smoke – a stage picture both nostalgic and full of promise. And when that curtain lifts, the show delivers on every count.

At the centre of this soaring production is Cherry Tree Lane, brought vividly to life by a jaw-droppingly clever set. The Banks family home slides gracefully downstage like a theatrical music box, opening to reveal a fully realised Victorian interior – rooms layered with detail, from the children’s bedroom to the study and sweeping central staircase. The home glides off stage just as smoothly when Mary and the children set off to the park, the rooftops, or more whimsical locations, each scene change choreographed with the sort of seamless ingenuity that defines this production.

Yet despite its dazzling veneer, the show hit a few unexpected bumps – literally. Twice during the first half, technical issues brought the performance to a halt. In a lesser show, that might have punctured the atmosphere. Here, the energy never wavered. Such is the strength of the material – and the cast carrying it.

“Crisp precision”

As Mary Poppins, Stefanie Jones faces the unenviable task of stepping into Julie Andrews’ polished shoes. She doesn’t imitate – she inhabits. Her diction is faultless, her vocals pristine, but it’s her physicality that astonishes: every gesture, turn and perfectly poised stance is “practically perfect” without ever feeling contrived. Jones moves with crisp precision and a winking command that makes the magic feel effortless.

That magic is, of course, part of the thrill. Mary’s bottomless carpet bag produces hat stands and mirrors with sleight-of-hand elegance, while her centre-stage entrances are nothing short of miraculous. And when she finally takes flight – soaring high above the audience in the show’s closing moments – the theatre erupts in gasps and cheers, a reminder that the impossible remains the domain of the stage.

Jack Chambers, as Bert, nearly steals the show. He’s cheeky, charismatic, and astonishingly athletic. ‘Step in Time,’ performed with a phalanx of chimney sweeps on the rooftops, is one of the most exhilarating dance numbers in recent memory. He even dances up the wall and across the ceiling, a feat of choreography and engineering that is both technically jaw-dropping and narratively joyful. Another standout, ‘Supercalifragilisticexpialidocious,’ is a riot of colour and rhythm, building to a breathless crescendo.

And yet, even Chambers’ Bert might have been upstaged by the Banks children. On press night, Charlie Donald as Michael and Katie Ryden as Jane were simply flawless. Onstage for nearly the entire show, their energy, comic timing, and vocal strength were well beyond their years. They didn’t just keep up – they led the way.

“Ambitious”

Patti Boulaye lends gravitas to the show’s emotional core with a moving rendition of ‘Feed the Birds,’ delivered with a quiet power that grounds the musical’s more whimsical moments. Costumes throughout mirror the film’s vivid palette – crisp, bright, and true to the Edwardian aesthetic.

The few missteps – a slightly strange clown sequence and the absence of those iconic dancing penguins – felt like mild distractions in an otherwise cohesive evening. Some of the new songs blend in seamlessly, others land less convincingly, but the balance tilts comfortably toward charm.

By the time the final chord rings out, the entire theatre is on its feet. This is a production that gives audiences exactly what they came for – and just a spoonful more. Technically ambitious, emotionally sincere, and packed with stagecraft that delights children and adults alike. This Mary Poppins doesn’t just take flight – she soars.

‘Mary Poppins’ is at Bradford Alhambra Theatre until 29th June
images: Danny Kaan