A considerable effort has clearly gone into the Taieri Musical Society and DKCM production of Mary Poppins. Every element of it from the first notes of the opening overture to the final curtain call has been polished to an exemplary degree. With an entire ensemble of strong performers and technical excellence on every front, there is very little not to be excited about.

Nadya Shaw Bennett brings to life the iconic, vain but practically perfect Mary Poppins with finesse, seeming perfectly at home in the role. She is complemented in her performance by Evan Fenemor whose earnest charm is exactly what is needed in the role of Bert. Although all of the principals handle their roles very well, I feel special mention must be made of Greg MacLeod and Kelly Hocking playing troubled couple Mr and Mrs Banks. Archaic though the troubles and attitudes of these characters are, they are portrayed so empathically their problems become real, immediate and engaging. Joseph Kelly and Samantha McCormick playing the children also warrant praise for holding their own admirably among an older and more experienced cast.

From a technical standpoint, the production is simply outstanding. The folding set is constantly being spun around and reconfigured to create the various locations of the show, and that alone is a sight to behold. But the set is more than just a practical effect, the entire thing is painted white in order to allow for perhaps the most impressive feature of the entire production: the projected backgrounds.

I have seen projected sets used before, but until this show I have been unconvinced of their ability to rival their painted counterparts. However, these projections, crafted by Dave Spark of Pixel Productions, are frankly astounding. As the action unfolds onstage it is easy to forget that you are looking at a projection, until that is, they spring to life and become animated. An impressive feature like this could easily be used in a way that becomes tacky and intrusive, but here is used with restraint, providing flourishes that strictly enrich their scenes.

Details like this work with the lavish costumes and the first class choreography and orchestration – credit to choreographer Emma Holloway and Michael Grant respectively – and the consistent quality of the ensemble performance to lend the production a richness and variety it would be lost without.

It cannot have been an easy task to capture the sense of magic and wonder of the children’s classic, but this production has managed it, and every minute detail and grand technical feat (some of which I am refraining from raving about only to avoid giving away surprises) contributes to that. Each musical number is highly entertaining and performed with zeal, but the highlight has got to be Bennett and Arlie McCormick’s stirring rendition of ‘Feed the Birds’.

Really, there is no weak link in this performance, and had I the time to single out and praise each cast member and backstage hand (who must have been working every bit as hard as those on stage to bring it all together) by name, I would gladly do so as they all warrant it.  Let me just say instead that the show is spectacular and will prove enchanting for those young or old who take the time to see it.

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