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Cameron Mackintosh and Disney Theatrical Productions have announced the final adult casting for the new production of Mary Poppins which begins rehearsals in September and returns to its original West End home at the Prince Edward Theatre from 23 October 2019.
Joining Zizi Strallen in the title role, Charlie Stemp as Bert, Joseph Millson as George Banks and Petula Clark as the Bird Woman, are Amy Griffiths who will play Winifred Banks, Claire Moore as Miss Andrew, Claire Machin as Mrs Brill, Jack Northas Robertson Ay and Barry James as Bank Chairman and Admiral Boom. Casting for the roles of Jane and Michael Banks will be announced at a later date.
The magical story of the world’s favourite Nanny arriving on Cherry Tree Lane has been triumphantly and spectacularly brought to the stage with dazzling choreography, incredible effects and unforgettable songs. The stage version of Mary Poppins, brilliantly adapted from the wonderful stories by PL Travers and the original beloved Walt Disney film, continues to be a smash hit around the world since its opening in London 15 years ago.
The ensemble comprises Yves Adang, Lydia Bannister, Angeline Bell, Lydia Boulton, Matt Cox, Adam Davidson, Katie Deacon, Danielle Delys, Joshua Denyer, Stan Doughty, Glen Facey, Davide Fienauri, Ian Gareth-Jones, Mark Goldthorp, Joanna Gregory, Catherine Hannay, Jacqueline Hughes, Jason Kajdi, Sam Lathwood, Jordan Livesey, Ceili O’Connor, Malinda Parris, Alex Pinder, Ben Redfern, Rachel Spurrell, Lucie-Mae Sumner, Rhys West and Monique Young.
The original music and lyrics by Richard M. Sherman and Robert B. Sherman include the classic songs Jolly Holiday, Step in Time, Feed the Birds and Supercalifragilisticexpialidocious. New songs and additional music are by the Olivier award-winning British team of George Stiles and Anthony Drewe.
Book is by Academy Award®-winning screenwriter and Downton Abbey creator, Julian Fellowes and this production is co-created by Cameron Mackintosh. The producer for Disney Theatrical Productions is Thomas Schumacher.
This production of Mary Poppins has orchestrations by William David Brohn with dance and vocal arrangements by George Stiles. It has a new sound design by Paul Gatehouse and new lighting by Hugh Vanstone and Natasha Katz. Co-choreography is by Stephen Mear. The reimagined set and costume designs are by Bob Crowley. Co-direction and choreography is byMatthew Bourne and direction by Richard Eyre.
The stage production of Mary Poppins originally opened in the West End in December 2004, running for over 1,250 performances. During this time, the production won two Olivier Awards and an Evening Standard Award. Subsequently the Tony Award®-winning Broadway production ran for over six years.
A subsequent new production of the show, adapted from the original, enjoyed record-breaking runs in Australia, North America, the UK and Ireland, New Zealand, Holland, Mexico, Austria, Switzerland, Dubai, Japan and Germany, where the production recently entered its second hit year in Hamburg. Mary Poppins is the biggest hit musical ever in Italy playing key seasons in Milan, and in October will open in Rome simultaneous with the London production. Several further new productions are to open in Europe over the next three years.
The Prince Edward opening in October will be the first time the new production will be seen in London.
How seriously should theatre-goers take a reviewer that keeps using the word problematic?
Not seriously at all, obviously.
A trend that, arguably, represents everything rotten & self-destructive about the industry currently. Imposing self righteous 21st century values on the past also means work is now regularly dismissed: sight unseen.
Who needs creative expression anyway? Balance? Forget it.
It’s like Brexit it goes from bad to worse
In an industry that has only recently begun to grapple with the equality issues that have bedevilled it, progress has been made on representation & visibility.
But where does all this agenda-driven, middle class self-loathing & guilt tripping actually lead? Well, it is initially on display in the current crop or preachy ‘woke’ commentary that is entrenched in mainstream culture. See: Theatre Twitter / Exeunt & an increasing number of The Stage’s reviews.
Berkoff as Harvey Weinstein. Photograph credit: Richard Young/Rex/Shutterstock
Steven Berkoff recently directed himself in Harvey, a one-man show about Weinstein, at the Playground theatre, London. The play attempts to delve into the disgraced movie mogul.
The Guardian went and awarded it 2 stars. This was a workshop run of a new play by an 81 year old man. Press were not invited – they went anyway. Tabloid stuff innit.
Berkoff may not be to everyone’s taste and the timing is undeniably questionable (too soon etc) but he is a man with an international profile & reputation for cutting-edge theatre (East, Salome and Decadence) Berkoff is also one of the foremost actors of his generation. To write him off for having a scrotum & daring to tackle this material is churlish.
Every year a rotating number of individual voices rise above the usual noise on social media but the stupidity remains ritualised. Everyone is offended – everything is problematic. Even Mary Poppins is racist, you know.
Long term, as others are often too scared to point out, though, it’s hardly an unconnected surprise to learn that critics are being culled & informed mainstream coverage is in decline. Who wants to read this stuff? Modern life is already miserable enough as it is.
It’s always a case of fine margins, of course, with The Stage & increasingly The Guardian which are both regularly condemning patriarchy in a campaign that can best be described as annoying.
It is, though, hard to escape the sense that all concerned are going through the motions – effortlessly, sometimes brilliantly – but going through the motions, none the less. Chasing trends rather than setting them.
All About Eve
This week, I visited the Noel Coward to see Ivo Van Hove’s production of All About Eve. The play is based on the classic 1950 film, that sees Bette Davis as an ageing star under siege from a manipulative aspiring actress.
Gillian Anderson & Lily James are great & I found it compelling. Technical wizardry aside, the vital element in the brilliance of All About Eve is that the direction & cast are of a phenomenally high standard. Truly.
Anyway, in a review for Time Out, Andrzej Łukowski commented: “Her appearance is the first sense that any women exist in this world, and she’s there to mourn, repent, and care for a suffering man, not to have her own agency.” ‘Written in a very different era, ‘All About Eve’ is not totally unproblematic in its depiction of female ambition and its relationship to female bodies. But it is still pretty potent, and apt, and you can see why it appealed to Van Hove.’
All About Eve is geared toward the #MeToo era; most of the audiences are young, smart females. I used to enjoy reading first night reviews. Now, so often, the recurring themes and language around the same complaints about ‘all male’ creative teams week-after week mean that those writing about theatre have talked themselves into an opinion.
By which I mean give me strength – let’s not get carried away chaps, it’s just people jumping on an obvious bandwagon.
Stay strong, readers.
All About Eve is at the Noël Coward theatre, London, until 11 May.
