The Search for a Practically Perfect Nanny
When legendary producer Cameron Mackintosh and Disney Theatrical set out to bring P. L. Travers' magical nanny to the stage in the early 2000s, they knew casting the lead was everything. The role required a performer with immense vocal talent, graceful
movement, a commanding presence, and the ability to capture both the sternness of the book's character and the warmth of the film. It was a daunting task to find an actress who could emerge from the enormous shadow cast by Julie Andrews' iconic 1964 film performance while also making the character entirely her own for a new generation of theatregoers. The search spanned continents, as the creative team looked for that rare combination of star power and specific skill that could carry a multi-million-dollar production.
The Star Who Didn't Get to Fly
In the world of alternate-reality casting, this is a fascinating one: Scarlett Johansson was reportedly considered for the role of Mary Poppins. While today she is known as an A-list movie star and action hero, in the early-to-mid 2000s she was a rising dramatic actress. The idea of Johansson stepping into the role certainly would have brought a different, perhaps more modern and grounded, energy to the character. During this period, she also appeared in the film 'The Nanny Diaries', which even featured a dream sequence where she floated over New York with an umbrella, a clear homage to Mary Poppins. Ultimately, the stage role went in a different direction, toward a performer with deep roots in musical theatre.
An Unknown Finds Her Magic
The role of Mary Poppins in the original 2004 London production ultimately went to a relative unknown, Laura Michelle Kelly. Producer Cameron Mackintosh had spotted her talent when she played Eliza Doolittle in 'My Fair Lady'. In an interview, Kelly recalled that her performance in that show served as her unintentional audition; Mackintosh was so impressed that he essentially offered her the part. Kelly's performance was met with rave reviews, and she went on to win the 2005 Olivier Award for Best Actress in a Musical for her portrayal. She managed to do the impossible: honor the legacy of the character while creating a definitive stage version that was entirely her own, later reprising the role on Broadway.
The Chim-Chim-Cher-oof Audition
Casting the role of Bert was just as crucial. The character is the audience's guide—charming, funny, and requiring a staggering level of physical skill. Not only did Bert need to be a top-tier singer and actor, but he also had to be an extraordinary dancer. The musical's version of Bert was even more physically demanding than the film, most notably for the show-stopping number 'Step in Time,' where the character is required to tap dance upside down across the proscenium arch of the theatre. This was not a role for just any song-and-dance man; it required a performer with the endurance of an athlete and the charisma of a classic vaudevillian.
A Shocking, Ceiling-Walking Success
The man who would defy gravity as Bert was Gavin Lee. In a twist of fate, Lee originally auditioned for the role of the Bert understudy in the London production. However, his unique skills and perfect fit for the part were so undeniable that he won the lead role outright. Lee’s performance became legendary, particularly his proscenium-walking tap dance, a feat that left audiences gasping nightly. His portrayal was so definitive that he reprised the role on Broadway, earning a Tony nomination, and went on to play Bert in the U.S. national tour. The combination of Kelly’s magical poise and Lee’s astonishing physicality became the bedrock of the show's worldwide success.
