In a theatrical landscape often saturated with revivals (especially those of the movie to musical variety) it takes a certain kind of production to truly warrant a return to the national stage. This new UK tour of Mary Poppins, however, does more than simply rehash the beloved Disney classic – it reignites it with theatrical sophistication, creative flair, and delivers the practically perfect spoonful of sugar to keep its sentimentality in check, and most importantly- help the medicine go down.

At its centre is a performance of real command. As Mary Poppins, Stefanie Jones arrives not just with umbrella in hand, but with a self-assured presence that grounds the production. Her clipped delivery and knowing glances retain the character’s mystery while allowing flickers of warmth to shine through. She is, crucially, not a soft figure – but one with steel beneath the surface. It is a performance that understands the power of restraint to reel the audience in.

Opposite her, Jack Chambers’ Bert is a bundle of charisma – light on his feet and entirely at ease with the audience. There’s a looseness to his performance that complements Mary’s rigidity; the choreography, especially in the rooftop sequences, is executed with such joy and energy that it feels almost improvised. His tap-dancing number across the proscenium arch is a wondrous highlight – dazzling yet purposeful, without veering into spectacle for spectacle’s sake.

The Banks family are played with sensitivity and just the right level of caricature. Mr Banks (Michael D. Xavier) is the emotional spine of the show – a man grappling with identity in a rapidly changing world. His arc is sketched with clarity and real feeling, giving the show a surprisingly moving undertone that offsets its more flamboyant elements. Charlie Donald’s Michael Banks is a glorious star-turn from a young performer with an incredibly bright future. Wendy Ferguson lifts the roof off the theatre with a wry portrayal of the brimstone and treacle wielding Miss Andrew- a humorous nod to Disney legend, Julie Andrews.

Set transitions are fluid thanks to inspired design with Hugh Vanstone’s crisp and ambitious lighting- though I could take the tiniest pinch more magic to conceal certain wires in certain points of the show… but perhaps that’s just my inner Miss Andrew being particularly picky. Bob Crowley’s design doesn’t aim to replicate the film, but rather evokes its spirit – a pastel-hued, wondrous vision of Edwardian London, at once romantic and slightly surreal. The house at Cherry Tree Lane is rendered with almost storybook charm, unfolding like a whimsical doll’s house, while the darker tones of the bank scenes bring contrast and weight against its dreamscape predecessor.

Musically, the production remains faithful to the original, but orchestrations are given a fuller, more theatrical treatment. ‘Let’s go fly a kite’ is a tear-inducing, nostalgic spectacle, while ‘Supercalifragilisticexpialidocious’ becomes a riot of clever staging and ensemble precision – a clear audience favourite invigorated by Matthew Bourne’s genius choreography.

There is something quietly radical in the show’s enduring message: that structure and kindness are not opposites, and that wonder and empathy still have a place in adult life. It’s a moral delivered without moralising, tucked into songs and scenes that are as entertaining as they are thoughtful.

In short, this is a production that earns its applause not with gimmicks or nostalgia alone, but with a carefully balanced blend of heart, craft, and just enough magic. As Mary Poppins reminds us, anything can happen if you let it – and in this case, what happens is a joyous, sharply executed night at the theatre.

Mary Poppins soars in Manchester until Saturday 17th May. Tickets and further information can be found here.

Tickets received in exchange for an honest review.

Photography by Danny Kaan.