Prince Edward Theatre
Old Compton Street, London
Public Previews: 23 October 2019
Opens: 20 November 2019
Booking to: 5 April 2020
Buy tickets:Buy tickets online
Nearest Tube: Leicester Square
Monday at 7.30pm
Tuesday no shows
Wednesday at 7.30pm
Thursday at 2.30pm and 7.30pm
Friday at 7.30pm
Saturday at 2.30pm and 7.30pm
Sunday at 2.30pm
Sat 26 Oct at 7.30pm only
Tue 29 Oct at 7.30pm only
Thu 31 Oct at 7.30pm only
Sun 3 Nov no shows
Tue 5 Nov at 7.30pm only
Thu 7 Nov at 7.30pm only
Sun 10 Nov no shows
Tue 12 Nov at 7.30pm only
Wed 13 Nov no shows
Thu 14 Nov at 7.30pm only
Sun 17 Nov no shows
Wed 20 Nov at 7.00pm only
Runs ? hours and ? minutes
£? to £?
Premium Seating also available
(plus booking fees if applicable)
She's back! The magical stage musical Mary Poppins in London from 23 October 2019!
Her carpet bag is packed, her umbrella is unfurled, and now at last the world's most famous nanny is about to alight on London's musical stage! Is it Jane and Michael Banks who need a nanny? Or is it their parents, George and Winifred who actually need more looking after? Only one thing is certain - after Mary Poppins arrives at 17 Cherry Tree Lane, with her no-nonsense approach to making the right choices in life, nothing will ever be the same again. Includes all of the best loved songs from the Disney movie including 'Chim Chim Cher-ee'; 'Jolly Holiday'; 'Let's Go Fly a Kite'; and, of course, 'Supercalifragilisticexpialidocious!'.
The cast features Zizi Strallen as 'Mary Poppins' and Charlie Stemp as 'Bert'. Directed by Richard Eyre and Matthew Bourne with choreography by Stephen Mear and Matthew Bourne, designs by Bob Crowley, lighting by Hugh Vanstone and Natasha Katz, and sound by Paul Gatehouse.
This production was originally seen here at the Prince Edward Theatre for run of just over three-years from 2004 through to 2008.
Zizi Strallen's West End theatre credits include the role of 'Fran' in Drew McOnie's production of the Baz Luhrmann musical Strictly Ballroom at the Piccadilly Theatre in 2018; and the role of 'Meg Kincaid' in Maria Friedman's revival of the Stephen Sondheim musical Merrily We Roll Along at the Harold Pinter Theatre in 2013.
Charlie Stemp's London theatre credits include the title role in the pantomine Dick Whittington at the London Palladium in 2017; and the lead role of 'Arthur Kipps' in Rachel Kavanaugh's revival of the musical Half a Sixpence at the Noel Coward Theatre in 2016.
Mary Poppins: 2004 to 2008
Previewed 6 December 2004, opened 15 December 2004, closed 12 January 2008 at the Prince Edward Theatre in London
Directed by Richard Eyre with co-direction and choreography by Matthew Bourne, co-choreography by Stephen Mear, designs by Bob Crowley, lighting by Howard Harrison, sound by Andrew Bruce and orchestrations by William David Brohn.
Camillus Travers, PL Travers' son, said of the show: "I was dreading first night. As my mother's closest living relative - she died in 1996 - I felt the burden of responsibility. But I needn't have worried. From the first note of the superb score to Mary Poppins's dramatic departure at the end. I was entralled throughout the two-and-a-half show... My mother created a story that has given joy to so many people. That joy has been brought to life again with this fantastic show."
"Hailed by rave reviews and clamorous box-office demand, the future of Cameron Mackintosh and Disney's turbo-charged Mary Poppins is already assured. Perfectly positioned to become the Starbucks of family shows. creating an instantly recognisable brand out of a figure floating under an umbrella, this reimagining of the supernatural nanny and her antics is undoubtedly impressive. A whirlwind of illusion, song and dance, it makes a bold attempt to bring a sense of magic to the London stage, with the director, Richard Eyre, and co-director and choreographer, Matthew Bourne, deploying every weapon in their creative arsenal to ensure it leaves audiences awestruck." The Sunday Times
"Bob Crowley's fabulous doll's house design gives us the authentic cross-section of the luxury London townhouse where Mr Banks lives with his wife and two children. But, as one of several excellent songs added by George Stiles and Anthony Drewe insists, it's a place where Anything Can Happen, and that includes classical statues bursting into terrifying life, cuddly toys becoming colossal and creepy, and cheeky children becoming, miraculously, more thoughtful... There's another new song, Practically Perfect, which also says it all - or nearly. Practically speaking, Richard Eyre's show really is perfect, seamless and light years ahead of the film. So why didn't I and my children sing and dance out of the theatre on a wave of supercalifragilistic elation? The answer is simple. Having marvelled at the spectacular special effects and the stylish staging, there's too little to engage at narrative or emotional level... After an overextended, underwhelming first half, the show warms up, almost to fever pitch, with the chimneysweeps' tapdanc eon the rooftops. This, appropriately, raises the theatre to the rafters when Mary's boyfriend, Bert, climbs up the proscenium arch and continues, upside-down, across the top. Had that genius choreographer Matthew Bourne given us more of that, we might not have noticed what was missing. While it's impossible to be unkind about a show as wholesome as nursery pudding, it's also impossible not to long for a little salt to balance the sugar... While everything will delight, nothing here will surprise anyone over seven or under 70." The Mail on Sunday
"There can be no disputing the success of Mary Poppins, at the Prince Edward. It is going to go on packing theatres, deservedly, for years to come. But there is room for disagreement as to what kind of success it is. If you were to believe the advance publicity, the great distinction of the stage version is that it is more serious than the film, that it brings out a darker and deeper side of the Poppins saga. And there is some truth in this, but only a bit. Mostly the new show seems to me a triumph of spectacle, theatrical flair and the shrewd engineering of audience responses." The Sunday Telegraph
Please Note: Mary Poppins is recommended for children 7 years and up. In the interests of other patrons, parents with children are reminded that they may be asked to remove any consistently noisy children. Children under 3 years of age will not be admitted to the theatre. Everyone attending Mary Poppins will be required to have their own ticket.
Mary Poppins in London at the Prince Edward Theatre previewed from 6 December 2004, opened on 15 December 2004 and closed on 12 January 2008.