Cameron Mackintosh and Disney’s production of Mary Poppins the Musical swept into 
Milton Keynes Theatre on Friday night for its press evening, and what a magical evening it was! From the moment I stepped through the doors, there was an unmistakable buzz — a fizz of anticipation that only a very special show can create. Children arrived dressed as Mary, balloons floated above merch stands glittering with charm, and themed decorations transformed the theatre into a whimsical world before the curtain had even lifted. It was impossible not to be swept up in the joy and excitement.
And then the show began…
I will say this without spoilers (which is incredibly difficult because I want to gush about everything): there are moments in this production that I have never, ever seen in any theatre production before. This is set design and stagecraft at the absolute peak of what theatre can be. True creative sorcery. It is no exaggeration to say this was, without question, the best show I have ever seen. The energy, the innovation, the theatricality — every second felt like pure magic. And discovering that the production is co-directed and choreographed by Matthew Bourne alongside Stephen Mear suddenly made perfect sense — the movement, precision and creativity in the choreography is breathtaking from start to finish.
Then there’s the nostalgia. The music instantly transported me back to childhood afternoons watching the film with my mum and sister — warm memories wrapped in melody. I have been gleefully singing “Supercalifragilisticexpialidocious” around the house ever since (to my son’s complete despair). This production captures the heart of the original stories by P.L. Travers (first published in 1934) and honours the beloved film so fondly remembered, with Julian Fellowes crafting the stage book and Cameron Mackintosh co-creating and producing this masterpiece. It feels both beautifully familiar and gloriously reimagined for the stage.
A Story We All Know — Told with Fresh Magic
For those who somehow don’t know the tale, Mary Poppins follows the Banks family — respectable, proper, and just a little bit frayed at the edges — who find themselves in need of a nanny. But not just any nanny. Enter Mary Poppins: mysterious, poised, and practically perfect in every way. With a snap, a twirl, and a spoonful of something extra special, she brings joy, wonder and life lessons to Cherry Tree Lane, helping young Jane and Michael rediscover imagination and kindness, and reminding their parents what really matters.
This stage version stays true to the spirit and warmth of the film, all while adding new depth, texture and sequences that make it feel both classic and fresh. It honours the magic we grew up with, yet expands the story in brilliant, theatrical ways — a seamless blend of nostalgia and surprise.
A Cast Who Absolutely Shine
Where do I begin with this cast? Truly, they are irresistible.
Stephanie Jones as Mary Poppins is nothing short of sensational. Utterly stunning, vocally flawless, and completely captivating — she commands the stage with elegance, wit and sparkle. Every line, every look, every note is spit-spot perfection. You simply cannot take your eyes off her.
Jack Chambers as Bert brings charm in spades. Warm, charismatic, and reminiscent at moments of Dick Van Dyke in the very best way — his physicality and timing are impeccable and he lights up the stage every moment he appears.
The Banks family were a joy:
– Michael D. Xavier brings a captivating mix of rigidity and warmth to George Banks — at times even giving strong John Cleese energy.
– Lucie-Mae Sumner as Winifred Banks is heartfelt and beautifully sincere.
– Connie Jones as Jane and Oli Manning as Michael are brilliant — spirited, cheeky, and utterly believable as the wonderfully curious Banks children.
A special and much-deserved mention goes to Rosemary Ashe as Mrs Brill — a comedic force and a scene-stealer with razor-sharp one-liners and delicious sass.
And the much-loved role of the Bird Woman is sung with deep warmth and beauty by Patti Boulaye (until 16 November), to be followed by Lyn Paul from 18 November.
Every single performer, from principals to ensemble, delivers with heart, polish and infectious joy.
A Set That Defies Theatre Logic
Now… the set. Oh, the set.
It is astonishing. Genius. A living, breathing piece of art. With seamless transitions that glide, shift, and transform in ways that made the entire audience gasp, it is elegant storytelling through architecture, illusion and design. Scenes melt from one world to another, alternating between deep monochrome shadows and dazzling bursts of colour that feel like stepping into imagination itself.
Two moments in particular left the theatre buzzing — “Step in Time” and “Supercalifragilisticexpialidocious”. The choreography? Electrifying. The staging? Mind-bending. The audience reaction? Pure awe. I've never witnessed a production where technical wizardry and choreography harmonise so completely. It’s off-the-scale spectacular.
Final Thoughts — Don’t Walk… Step in Time!
I have genuinely never wanted to go back and see a show again as much as this one. My cheeks hurt from smiling. My heart felt full. My mind is still whirling with disbelief at the creativity I witnessed.
There is nothing I can fault about this production. It is joyous. It is dazzling. It is the very best of British theatre — a shining example of storytelling and stagecraft at its finest.
Please, please go see this show.
You will laugh, you will feel like a child again, you may even shed a tear — and you will leave believing in magic.
