d="u118cba75-e7e1-51bd-90c1-ede357c791b7">
First published in Great Britain by Peter Davies Ltd 1934
First published by HarperCollins 1958
This edition published by HarperCollins Children’s Books 2016
HarperCollins Children’s Books is a division of HarperCollinsPublishers Ltd,
1 London Bridge Street, London SE1 9GF
The HarperCollins Children’s Books website address is
Text copyright reserved P.L. Travers 1934
Illustrations copyright reserved 1934
Postscript copyright © Brian Sibley 1998
Why You’ll Love This Book copyright © Cameron Mackintosh 2008
Cover design copyright © HarperCollins Children’s Books 2018 Cover design by Katie Everson
P.L. Travers and Mary Shepard assert the moral right to be identified as the author and illustrator of the work.
A catalogue record for this book is available from the British Library.
All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins.
Source ISBN: 9780007286416
Ebook Edition © 2016 ISBN: 9780007372171
Version: 2018-06-28
To my MOTHER 1875 – 1928
Why You’ll Love This Book by Cameron Mackintosh
Mary Poppins delights in letting us know that she “never explains anything” and yet the Banks family fall under her spell and other families all over the world are put back together again by the world’s most famous nanny.
I fell in love with Mary Poppins and Julie Andrews in 1964, just after I left school, when I went to see Walt Disney’s magical film. On reading the credits, I realised the film was based on books by P.L. Travers which I then read avidly, discovering that there were many more stories and characters than those in the film. Her forthright, quirkily funny dialogue stayed with me, brought to life in my head by Julie’s brilliant, no-nonsense delivery in the film. In the late 1970’s I tried, like many other producers, to see if I could get the stage rights to Mary Poppins – but to no avail. Over the years, I often used to think of Mary but it wasn’t until 1993 when I was introduced to her creator, the formidable Pamela Travers, that I found that she wouldn’t explain anything to me either. By then Pamela was a frail, but extremely sharp, 93 year old lady, living in her Chelsea house, in a street looking remarkably like Cherry Tree Lane, eyeing me up and down, asking me lots of questions as she batted away my own. I felt like Michael and Jane Banks, waiting to be told “you’ll do”.
After several meetings, Pamela decided that I really was interested in turning her books into a stage musical, rather than just putting the film on stage – something she had refused to allow for decades, wanting a new and different score. Once Pamela decided I could be trusted with her great creation – though she never admitted creating (a word she hated) Mary, or any of the other characters, saying that “Mary just arrived” – I was in turn able to persuade her that a stage musical could only be made by combining her stories with the key songs from the film. Realising that I was probably her best chance to achieve her long cherished dream of a stage musical, she agreed and I finally felt a musical Mary might fly after all.
Mary Poppins is, and always will be, unique; stern, dependable, businesslike, magical and yet eternally loveable. When Jane and Michael call out “we will never forget you Mary Poppins” you know that though she has flown away, the gift she has brought will remain for always and that Mary is genuinely happy that her charges are now: “practically perfect and I hope it remains so”. Though Pamela would never say where Mary came from, she did in fact give an answer to the children when they asked Mary, “where is your home?” and Mary replies, “My home is wherever I am”.
From the time Pamela entrusted me with the stage rights to her books it took me several years to persuade Disney that a new musical could be created out of both the books and the films key Sherman Brothers songs and during that time I tried to piece together an outline for a dramatic structure that would make theatre audiences want to come back for a second half. The answer of course lay with Pamela herself. In the books Mary Poppins leaves the family twice and comes back only until she’s no longer required. This gave me the clue where the interval should be and enabled me to start putting the songs from the film into new dramatic situations and decide which new songs would be needed. I remember writing much of this treatment on the quayside by the Sydney Opera House, not far from the Old Grand Opera House where Pamela had herself danced and sung in her theatrical days. When I showed what I’d done to Tom Schumacher, who had just become the new head of Disney’s Theatrical production company in 2001, he presented me with armfuls of documents from the Disney vaults written by Pamela herself and said, “It was amazing that I had focused on many of the characters and episodes from the books that Travers wanted included in the Mary Poppins film sequel that was never made”. Whenever I was stuck for an idea, I would think, “What would Pamela do or say”. By separating the film and stage rights, Pamela somehow managed from beyond the grave to get Disney and I to work together and, with the enormous contribution of a lot of talented people, especially Tom, the stage musical she always wanted has now been created and has been miraculously embraced by Disney, fans of her books, her friends, family, trustees, as well as new audiences around the world. I like to think that Pamela would also say “it’ll do” as I have no doubt that if she disapproved she would have somehow sent me her notes!
Cameron Mackintosh
Cameron Mackintosh has been producing shows for more than 40 years during which time he has put on hundreds of productions around the world including Cats, Les Misérables, The Phantom of the Opera – the three longest running musicals of all time – and Miss Saigon. His other productions include the stage musicals Mary Poppins with Disney, Little Shop of Horrors, Side by Side by Sondheim, Follies, Martin Guerre, The Witches of Eastwick and acclaimed international revivals of My Fair Lady, Oliver! and Oklahoma!
Contents