MARY POPPINS

Beacon Musical Society

There’s a particular kind of magic that happens when a community theatre company tackles a beloved classic with both affection and ambition, and Beacon Musical Society’s Mary Poppins does exactly that. You might think you already know this show — the songs, the smiles, the spoonfuls of sugar — but Beacon Musical Society proves there’s far more to Cherry Tree Lane than nostalgia. Their production bursts with colour, charm and genuine heart, offering polished performances wrapped in the kind of joyful community spirit only Beacon Musical Society can deliver.

Under the direction of Isaac Owen and Wendy Cosier, the production feels grounded in real human experience. They don’t treat Mary as a glittery distraction; instead, she becomes a catalyst, gently nudging the Banks family toward the kind of connection they’ve been missing. It’s a thoughtful approach, and one that gives the show more emotional weight than people often expect when their frame of reference is the Disney film.

I really enjoyed this performance. When reviewing, I don’t often take notes during the production but for this show I felt I had to because there were so many elements that captured my attention, brought a smile to my face and, quite frankly, impressed me greatly.

Let’s start with Mary Poppins, played by Mia Keith, who glides through Cherry Tree Lane with gorgeous soprano vocals as crisp as her choreography. Mia’s stillness, her poise, her ability to command a room with a raised eyebrow or a perfectly timed pause… it’s everything you want from Mary. She’s enigmatic without being distant, warm without losing that signature firmness. It’s a performance that feels effortless but impresses on every level.

Opposite her, Alexander Billett as Bert lights up the stage with irresistible charm, nimble footwork and captivating vocals. He’s the kind of performer who makes you smile the moment he appears — relaxed, playful and completely at home in the world of the show. His dancing is a genuine highlight, full of athletic energy and character-driven movement that lifts the ensemble around him.

The Banks family is crafted with care. Sam Ardasinski gives us a George Banks whose stiff

upper lip slowly melts into something tender. Sam captures the quiet panic of a man who has forgotten how to be gentle and the joyous the relief of remembering how to live and love. Jemima Stratton brings quiet strength and heartfelt warmth to Winifred Banks, reminding us that courage often looks like choosing kindness. Her vocals are enchantingly warm and her scenes with Mary and the children are some of the production’s most grounded moments.

And then there are the children. Lucie Desjardins shines with bright, youthful confidence as Jane Banks giving a performance full of spark and sincerity. Hugo Bolluijt charms from the moment he steps onstage as Michael Banks. He is afforded some of the funniest lines in the script and delivers them beautifully. These talented young performers avoid the trap of merely playing “cute” and instead give us characters who enchant the audience and bring a sense of reality to the family’s emotional journey. 

Casting of this production was perfect. Each principal character aligned beautifully with the expectations of the audience without offering a mere imitation of productions that have gone before.

As much as I appreciate those central to the narrative, I have to pause for a moment to

celebrate Candy McInerney and Mackenzie Day. These two absolutely steal the spotlight as the Banks’ long‑suffering household staff. They captured my attention and won my heart from their first scene I was fangirling in every scene that followed. Candy’s Mrs Brill is a masterclass in dry humour - sharp timing and a perfect measure of exasperation that has the audience laughing every time she appears. Mackenzie’s Robertson Ay is her chaotic counterpart, tumbling through scenes with impeccable comedic instinct and a kind of endearing clumsiness that makes him impossible not to love. Their performances add texture, warmth and a welcome dose of silliness to Cherry Tree Lane, reminding us that even in a story filled with magic, sometimes the funniest moments come from people just being their flawed human selves.

Visually, the production is a feast. Ros Moore’s costume coordination fills the stage with colour and character; a visual explosion that makes Cherry Tree Lane come alive. Every outfit feels intentional, from Mary’s iconic silhouette to the vibrant ensemble costumes that burst onto the stage during the bigger numbers. It’s the kind of costuming that doesn’t just decorate the show; it deepens it.

And yes, the magic is there. Beacon Musical Society uses a clever mix of practical effects and theatrical illusion to bring Mary’s abilities to life. Technical Director Andrew Yager, Stage Manager Bec Kimpton and their extensive stage, tech, décor and props teams craft charming magical touches that make the world of Mary Poppins feel wonderfully real. The carpet bag surprises, the crisp entrances, the little moments of impossibility… they’re all handled with confidence and charm. Nothing feels overdone. Instead, the magic supports the story, reminding us that wonder often arrives quietly.

One of the things I love most about Beacon Musical Society is its commitment to community, and that shines through in the ensemble. This is a big cast, and they fill the stage with warmth, energy and genuine joy - a vibrant, intergenerational ensemble that embodies the true spirit of Community Theatre. You can see the mix of seasoned performers and newcomers, adults working shoulder‑to‑shoulder with young people, and it creates a sense of shared purpose that’s hard to manufacture. Ensemble numbers like Let’s Go Fly a Kite and Supercalifragilisticexpialidocious become celebrations of what community theatre does best: bringing people together to create something big, bright and joyous.

Musically, the production is anchored by an orchestra of impressive quality. Under Andy Myles’ direction, the musicians deliver a rich, balanced sound that supports the performers beautifully. The score’s iconic melodies are handled with care, and the orchestra’s precision ensures the emotional beats land exactly where they should.

What stays with me, though, is Beacon Musical Society’s commitment to storytelling. They don’t rely on spectacle alone. They dig into the emotional complexity beneath the whimsy, allowing the audience to sit with the discomfort of a family learning to reconnect. Mary Poppins isn’t just a magical nanny; she’s a reminder that kindness, imagination and a little bit of courage can shift the entire trajectory of a household.

Applause for a cast that sings, dances and acts with heart; for costumes that burst with colour; for young performers who shine and for an ensemble that embodies the beauty and joy of Community Theatre.

Afterthoughts that echo the truth Mary Poppins teaches best: growth begins when we choose to see one another with patience, imagination and a little bit of grace.

Photo credits: Adam Cavanagh

"Mary Poppins"

17 July - August 1

at Epping Baptist Church

Tickets: beams.org.au