It's a Famous Mary Poppins Quip, and a Maxim Fully

4 LIVE / OCTOBER – DECEMBER 2012 That Disney Magic “Anything can happen if you let it!” It’s a famous Mary Poppins quip, and a maxim fully embraced by set and costume designer Bob Crowley when he was handed the challenge of bringing the enchanted – and enchanting – story to the stage. By Sarah Illingworth.

five-time Tony Award-winning of work goes into it. And then you’ve got set designer whose humble to make it look like it’s really simple; that’s persona is refreshingly at odds the whole art of it. If it looks difficult, it isn’t with his level of professional working. success, Bob has authored “Everybody has to be on the same page, theA set design of numerous stage shows, otherwise it’s total chaos. You all have to be including Aida, The History Boys and Tarzan, aiming at the same target, trying to achieve along with many a Royal Shakespeare the same results.” Company performance. Saying the house proved his biggest design The Irishman decided to diverge from his challenge, Bob describes it as “another typically minimalist aesthetic when asked character in the whole show. It’s the house to work on the theatre version of MARY that they’re going to lose if [Mr Banks] can’t POPPINS, although the process did start pay the mortgage, when he loses his job. In simply. Taking his cue from the pen and ink order to feel that they’ve got something to illustrations in Poppins author P.L. Travers’ lose, you’ve got to see physically what they original books, Bob started drafting the set could lose.” by sketching his own interpretation of the tales, and that storybook feel is central to When the show’s runaway success begged the look of the finished design. the creation of a touring version, and the need for a set that could be set up, packed down “I started by drawing the park, and the and shipped with minimal fuss – but retain all house and Cherry Tree Lane,” he recounts, the magic of the original version – Bob and his adding that “you still see everything drawn; crew returned to the drawing board. all that was drawn by my hand. It became a very personal version of the film.” “We went back to basics and we looked at everything for the tour. The show [that’s It’s a connection that actually goes way back. coming to New Zealand], it’s exactly true to Bob recalls being so enamoured by Disney’s the spirit of the original show, moment for classic film version of MARY POPPINS when moment for moment. It’s just more light on it was first released that he saw it three times its feet. And actually, I love what we did. The in one week. Bob Crowley lighter it got, the less real it got, I loved it.” “I was very nervous taking on an iconic show The touring version may be stripped like that, because [the film] was so ground- back, but it certainly doesn’t appear to breaking in its time. It had a huge effect on be missing anything. Without giving too me watching it – in fact, it may well have much away, highlights include Step in Time, influenced me in my chosen career, because in which the affable Bert (played by acclaimed I found it so inspiring visually.” Australian choreographer and performer That said, he’s quick to add that “the stage Matt Lee) leads his fellow chimney sweeps show isn’t the film. It honours the film, but it’s in a Stomp-tastic jaunt across the rooftops not a reproduction of the film. There’s new of London, Supercalifragilisticexpialidocious material, new storylines, new characters, – which will leave you breathless – and THE TELSTRACLEAR SEASON OF new songs even – but it’s still recognisably the perfectly executed slapstick of MARY POPPINS.” A Spoonful of Sugar. It certainly is MARY POPPINS from head “The songs, for God’s sake, are amazing,” to toe, and it rivals the much-loved Julie confirms Bob. “One after another keeps Andrews version in its telling. Drawing coming and pressing your buttons... My inspiration from the original books and favourite song in the whole show is Let’s his childhood enthusiasm for the film, Bob Go Fly a Kite; I think that’s a really, really hand-drew every character, costume and gorgeous song. I love that moment.” set piece before they were brought to life. “It’s just gorgeous to see the reaction in No small task, but to him drawing is a time- the audience,” he concludes, remarking on Giselle saver, a way to communicate, which leaves the huge numbers that have embraced the little room for confusion. show worldwide. “Wherever it goes, it just has A new staging of this romantic 29 NOV – 2 DEC AUCKLAND “Until you show a person a drawing of the same effect. They’re enchanted by it, classic is co-produced by Ethan ASB Theatre, The EDGE something it doesn’t exist,” he says. you know.” “Sometimes it’s much easier to draw it than Stiefel and Johan Kobborg, Book at The EDGE talk about it. We drew cave drawings before internationally acclaimed principal (09) 357 3355 / BuyTickets.co.nz we wrote notes to each other as cavemen – dancer of London’s Royal Ballet. it’s very basic; it’s very, very human.” Gillian Murphy, RNZB Principal Adult Tickets from $37 MARY POPPINS However, ensuring the show captured the Guest Artist, dances Giselle, Children Tickets from $25 magical whimsy of Bob’s original drawings, THE SUPERCALIFRAGILISTIC one of the most dramatic and Service Fees Apply and the story itself, was no walk in the park. MUSICAL SEASON SPONSOR SUPPORTED BY demanding roles in the classical “Days, hours, weeks went into all that stuff. From 13 October | The Civic Photo: Deen van Meer ©Disney/CM L ballet repertoire. For more information and bookings To make it seem easy, an immense amount nzballet.org.nz