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[0:01] William J Connolly: My name is Mary Poppins, and you're listening to Eleven, the official theatre podcast.

[0:15] William J Connolly: Hello and welcome to Eleven, the official theatre podcast that brings the biggest stars and creatives together in one place to discuss life in the arts.

[0:24] William J Connolly: She's one of Australia's finest leading ladies that's currently taking on the title role in the UK and Ireland touring production of Mary Poppins, reprising her practically perfect role, having been lauded with praise for her portrayal Down Under.

[0:38] William J Connolly: No stranger to stepping into the spotlight, she also has theatrical credits including originating the role of Felicity in Zombie the Musical, Muriel's Wedding The Musical, The Sound of Music, Once, Aspects of Love, Brigadoon, Oklahoma, South Pacific, the original workshop for King Kong The Musical, and even a role in the iconic Australian TV soap opera Neighbours.

[1:01] William J Connolly: So here, in an exclusive conversation, just a matter of hours before flying in to star as Mary, we talk about the welcome pressures of playing one of the most beloved and iconic characters in history.

[1:13] William J Connolly: How this chapter and her portrayal of the famous nanny has changed since her first time in Oz, and why nothing can compare to the feeling of taking flight at the end of each performance and seeing some rather small audience members smiling back, and maybe some rather tearful parents too.

[1:30] William J Connolly: Plus, we also talk about UK accents, why Julie Andrews is an absolute queen, exploring the darker side of the story with the stage musical, and how she's fast approaching 1,000 shows as Mary globally.

[1:42] William J Connolly: Yes, 1,000.

[1:45] William J Connolly: And why, most importantly, there's good in everybody as Mary is determined to teach each and every show.

[1:52] William J Connolly: It's the stunning Stefanie Jones here now on this, the next episode of Eleven, the official theatre podcast.

[2:03] William J Connolly: Please let me welcome to this, the next episode of Eleven. She's the first lady of Musical Theatre from down under that's now bringing her Spit Spot and Tip Top Magic to the title role in the Mary Poppins UK and Ireland tour.

[2:16] William J Connolly: And she's here to tell me all about it. So I say Stefanie Jones, are the rumors true? Is it a jolly holiday with Mary?

[2:22] Stefanie Jones: Oh, what a great intro. Thank you. Yes, the rumors are definitely true.

[2:25] Stefanie Jones: We are having a wonderful time, especially now that the sunshine is out.

[2:28] William J Connolly: I wonder if Mary would like sunshine. Do you feel like it's too happy and bright, or would she be like, no, no, bring it down a bit?

[2:33] Stefanie Jones: I think she thrives in all kinds of weather because she's always totally prepared, isn't she? And now I feel like I have to emulate that and never be caught in the rain without an umbrella. But I often am. Uh, but I do know that she loves the sunshine, absolutely.

[2:46] Stefanie Jones: And the number "Jolly Holiday" that we do in the production is just so spectacular to watch. It's wonderful.

[2:53] Stefanie Jones: Maybe that umbrella actually was for Mary, like you do in the show, to protect her from the sun, not just to take her away. Maybe it's got multiple things. With my Irish skin, I get burnt in an instant. So I actually do need an umbrella for shade.

[3:04] Stefanie Jones: Thank you so much for agreeing to do this. You're one of the most busiest people in this country leading literally this ridiculously ginormous tour. I mean, I don't know if you are able to sort of take in the numbers, see how many venues and more importantly, how many audience members are coming to see it.

[3:17] Stefanie Jones: But once again, the UK and Ireland is obsessed with Mary Poppins, and you get, I imagine what is the honor of a lifetime to get to come to the UK and to get to play this role, which is like a staple of this country. I mean, literally, people are obsessed, but sort of for anyone that hasn't had the opportunity to see the show and isn't aware of your history with it. This is a part that you know incredibly well. This is like, is this like Mary Take Two for you?

[3:39] Stefanie Jones: It is. It is exactly Mary Take Two. And to, you know, have Cameron reach out to myself and Jack, who plays Bird, and ask if we would like to go again and tour the UK, it was an instant yes because we love the material. We didn't feel that we were done with it in Australia. We did want to keep going. So this is the perfect opportunity to do that. And we're getting to see parts of the UK I wouldn't normally get to see and travel to. So it's just such a pleasure, the definition of a pleasure.

[4:06] William J Connolly: What are the main differences then from part one to part two? Do you feel a little bit more comfortable with it? Because I imagine taking on a role so iconic, everyone knows what they want with it. But the joy of this production, particularly the musical version, is you get to bring yourself to it and do a slightly adjacent Mary, which I think is so unbelievably exciting, the sort of artistic license. So how's it played out for you, I guess, part two?

[4:25] Stefanie Jones: I was feeling a bit calmer because I already knew I could do it in a sense. You know, the very first time you're ever in a rehearsal room, you know that, oh, I'm capable, I'm capable, but you still have to do it. It's still all ahead of you. You know, 18 months of eight shows a week. But this time around, I knew that it was in my body, I knew how to handle it and how to manage my voice. And then, of course, there's some obvious changes and differences, like being surrounded by completely new cast members, which makes it really exciting again, and it makes it different, and you get to interact differently with people on stage. So it's kept it fresh.

[4:55] William J Connolly: And does it being here with the Brits around you, does it help with the accents?

[4:59] Stefanie Jones: I have never heard so many different accents in one place in all my life. I mean, even in our company alone, we have people from all corners of the United Kingdom. So my ear has definitely had to tune in, especially to the Birmingham accent. And we have a few castmates from Liverpool as well, which has sort of thrown me a small curveball. Um, but I think actually what's happening is that my Australian accent is fading when I'm just me as Stephanie, and I'm starting to talk a bit more proper, which is probably a good thing. But my friends at home might make fun of me. I'm not sure.

[5:30] Stefanie Jones: I was gonna say, do your friends and family back home say, wait, you don't sound like us anymore?

[5:35] Stefanie Jones: Yeah, it is heading that way. It's been said to me a few times. So I'll have to keep an eye on that. Because no one likes an Australian who comes home talking posh.

[5:42] William J Connolly: I also love the idea of this. Maybe she was more of an Aussie Mary when you were back home. Like, do you think she was more ossified there?

[5:48] Stefanie Jones: Oh, look, definitely no, definitely not. I mean, we were very strict on our accents, and you know, I'm a trained actor, so you know, that's sort of a day one thing, isn't it? Trying to get accent work under your belt. Um, but as well, you know, what we always held close to us when we were doing the show in Australia is that P.L. Travers is actually originally from Queensland, Australia, and so many of the characters in her books were based off people that she met in Australia. So it kind of feels like we have a little part of her in some sense, which is really, really nice. Mary belongs to everybody, I think. I think she's just this figure that everybody loves and connects to. And I feel like it's this character that nobody doesn't like Mary Poppins.

Like everyone knows about her, they know of the story, they're probably deeply, deeply in love with both of the films now, which is extraordinary to see with the film and both of them, and then with the musical expand and expand and expand, which I imagine for you is a great honor and a great legacy when this journey first began, way back when you were back home to be given the opportunity to do it.

[6:41] William J Connolly: So, do you remember how it felt when they went, Yeah, this is your baby?

[6:45] Stefanie Jones: There were so many different feelings. I was absolutely elated, but I was also relieved that I got it. But there's a very specific reason why I felt relief, and that's because unfortunately COVID 2.0 in 2021 had very much interrupted our audition process. We couldn't continue with our auditions, even though I was getting callbacks and it felt like I was doing really well. The creative team had to fly home to London. So basically, you know, jump ahead five or six months. Jack and I were being flown to London for our final auditions because they couldn't come into Australia. So to have all that pressure kind of put on you to know that it's really down to the wires, it's down to you and Jack is the favorite, and I was kind of the favorite, but that doesn't mean that you necessarily have the role.

It was very nerve-wracking. So to finally hear, after all these many, many months of drilling the material, keeping my fitness up in lockdown, to finally get given the role. I was just, I was relieved, but then very excited.

[7:42] William J Connolly: Do you remember what that moment felt like when you delivered that good morning? The first time on the stage when you know she was yours?

[7:47] Stefanie Jones: I was very nervous. I'm not gonna lie, I was definitely very nervous because opening nights aren't a general public audience. They are invited guests. It's reviewers, it's influencers, it's celebrities, it's the musical theatre elite, you know, who are attending these evenings. So you're always definitely very nervous, but then the buzz of an opening night compares to nothing. And the amazing cheer I got when I first stepped out and said that line was oh, it was incredible. I'll never forget it.

[8:17] Stefanie Jones: And it's also like peak Mary Poppins magic. I don't want to give anything away for people that haven't seen it, but you appear in a very glamorous way, very suddenly on stage. But in true Mary Poppins style, in the coat, the hat, the bag, the umbrella, everything. I mean, you quite literally are her in that moment. And the audience reaction is always cheers and kind of disbelief she's there.

[8:36] Stefanie Jones: I think so. I think so too, because that's exactly right. Her silhouette is so iconic. And the costume team, let me tell you, I've never worn costumes that have just been so perfectly made. The entire company wears costumes that are just stunning and so detailed, but it is important to get her shape and her silhouette correct. And then there's the bag and the broly. There's the turned-out feet with the heel and the turned-up toe, and there's the beautiful hat as well to top it all off. It's um, there's no way that I couldn't feel like Mary when I wear that. And as well, growing up being a dancer, I suppose I do come to find characters externally as well as like finding who they are internally. But there's so much of it having grown up looking at myself in the mirror as a dancer that when I do put on the costume and being able to see that person back at me, it really helps with my approach. And the costume is just oh, an absolute 11 out of 10. Stunning.

[9:23] William J Connolly: 11 out of 10. I'm absolutely stealing that with this podcast name. But also the coats are so iconic. Like imagine, even if you know, some days when we're all feeling a little bit under the weather or not 100%, when you put the shoes on and the coat goes on, you must feel just everything go up.

[9:37] Stefanie Jones: Absolutely, I do. Absolutely. But let me tell you as well, on the flip side of that, this moment in the heat, you know, where I'm wearing corsets, stockings, socks, bloomers, shirts, skirts, coats, scarves, hats, gloves. It is warm and it is a lot of work to do all that dancing and running around, but pretend that it's effortless. And there'll be absolutely no breeze or air in a theater knowing how much they lock them down.

[10:01] Stefanie Jones: God bless you. There's really not, there's really not. But it's a good way to shed a bit of weight, I guess.

[10:11] William J Connolly: When you first began your audition process for way back at the very beginning, where did you start with how you wanted to find your Mary? Was it based on the literature? Was it based on that original book? Was it based on the fact you wanted to honor something that came from the film? I guess how did you start to build her upwards?

[10:26] Stefanie Jones: Yeah, I think it definitely is a bit of both because we know that so many people come to see this show because they're nostalgic for the film. And but Julie Andrews is so iconic, it's like you can't copy her. No one can be her, no one can come even close. She's an absolute queen. But there were definitely parts of the film, the way her inflections on certain lines that I think are very specific to Mary. And then when you read the script, when you actually get sent it, or you know, get sent the audition sides, and you get to read how Julian Fellowes had written her down for the musical version. You realize that, oh, they're kind of, I felt at least there was just one way to deliver each line.

There was one way. It because she's so kind of curt and short but warm. So like when you realize all these things about her and you combine them and you mix them up, you're like, well, that's just how she would say that. Uh so it in a sense came easily to me. Not to say that she's an easy part to play because it's very demanding, but then on the other hand, I think maybe that's why I did get the part because there was something about it that just fit really well with me, and I really understood the text from the beginning. So I think that's part of yeah, luck and I don't know, the universe saying that it was meant to be.

[11:34] William J Connolly: That's Julian Fellowes, of course, from Downton Abbey success, which means your writing, your scripture material literature is it comes from the hands and the mind of a genius, which I can imagine makes your job a touch easier being able to sort of read his work.

[11:46] Stefanie Jones: It really does. I have to say, I think we have all seen a lot of musicals where the book falls short, and that is not the case with Mary Poppins. The scenes are really nice and long and lengthy and detailed as well. Sometimes I feel like I go and see a show and I'm like, oh, okay, we're in another song. We're already in another song. I've, you know, I think our songs are really beautifully spread out and they're really earned and deserved by the time we get to them. And there's a real point for each of them, too. You know, all the songs like "Supercal" and "Jolly" and "Anything Can Happen." They're all teaching moments and "Feed the Birds" as well. It's a teaching moment for the children, and there's sort of like a lesson in each song, and oh, the script is just to die for it. I have no notes, no changes. Just he is a genius.

[12:30] William J Connolly: You're right. One thing that I also love about Mary on stage, and I think that this is very much developed through all the different iterations of the versions of the show that there have now been, is that it feels like it's always developing. And I think if we go back to like the original with Laura, it was a very sort of straight tone. And then we've had some American versions, which are a much grander version of Mary. Then we've had some people that have even taken it in a more sort of squeaky direction, which means that maybe she's perhaps more playful. And so, how much artistic license did you get to be able to make her sound comfortable with you? And I guess, do you think, as some analysis have said, that maybe the Mary on stage is perhaps a little tougher than she is in the film?

[13:08] Stefanie Jones: Perhaps she's a little more forward in the way in which she teaches, which again is separation between what people may know and how they may find her on stage.

[13:16] William J Connolly: Yeah, yeah, I think you're right.

[13:17] Stefanie Jones: I was very lucky to, I made some choices initially in the room that kind of stuck that I think they really liked with where I was placing her voice. And as well, the creatives who've been a part of this show since the beginning, they do like to evolve and change the show. They do have a bit of artistic license to do that. And so I feel like that's why the show is still so successful because it has grown and changed with different generations growing up. So even in this production, I feel like they've directed the children to be a bit more like bratty almost, and almost potentially quite unlikable. Like they really need to be taught a few good lessons. So then your Mary has to match their dynamic as well, and it all has to kind of be proportionate, I suppose.

And then, you know, this time around, we have Michael D. Xavier playing Mr. Banks, who has such an incredible comedy streak to him. Like he's just so naturally funny, not only in his tone and delivery, but in his physicality. And so they've let him kind of implement a bit of that to Mr. Banks, which then kind of like changes the family dynamic too. But it's exciting to do it that way. We don't all want to be carbon copies of each other, I guess.

[14:26] William J Connolly: Well, exactly. And I feel like if you wanted to see a particular performance that may have come before, that's there. But actually, we're coming to see you and paying to see you. And I feel like that must be so exciting to know that yes, people do love her and they expect a certain thing, but they're also choosing to come and see you and to see your interpretation. And the audience is on your side.

[14:43] Stefanie Jones: Oh, absolutely, they are. Absolutely. From the beginning, I know that this show kind of really holds people in the palm of our hand. And we're not trying to do that. It just naturally happens. Just so beloved. And there are so many things in this show for every generation. It's not just for kids. And I know that so many people, because I've spoken to them at stage door, they come to the show thinking, I just wanted to bring my seven-year-old, but I was moved. I was touched. I was weeping, and it really I felt connected to it. So that's how I know it's so special. One of those songs that I think really encompasses how Mary is different to perhaps what people may have read about before is in playing the game, which is so interesting because I know that there have been different versions of that song, different ways in which Mary teaches the children.

I think people may have listened to the original cast album, and which I believe is temper temper, etc. So, but it's this moment where we get to see Mary really tighten the screws on the children say, actually, be careful what you wish for and be careful how you treat others. What's that like to be able to get to show a slightly firmer side to her, particularly towards children, which isn't always a narrative that we see on stage?

[15:45] Stefanie Jones: No, that's right. Yeah, you're so right. And I think that number takes people by surprise. And unfortunately, I've definitely heard a few little tears coming out of the audience too, from little ones who are a little bit scared, which is fair enough. It is scary. But I think having read the books as well, there is actually quite a dark side to Mary Poppins, the story. Not, I don't mean like her as a person, I just mean the story. And there's a lot of temper tantrums thrown in the show. And it's actually not really often by the children, it's by the adults, which is kind of where the lesson lies. And you know, then Mary has a line to Bert after playing the game where she says, you know, there's no one harder to teach than the child who knows everything.

And I think there's a real double meaning to that. I think initially you think she's talking about the children, but I like to think I'm talking about Mr. Banks, because he just sort of can't be taught. So there's just so many little hidden messages in the show all the way throughout, lots of little Easter eggs like that. And playing the game, I actually find really enjoyable because it's musically so huge as well. And the puppet, I won't give too much away, is very impressive. And I think it's an important lesson. You have to treat things and people the way that you want to be treated. And that's a big lesson for her to impart to them. It's also probably, I imagine, one of the moments, although there will be multiple ones in this production because Cameron and Dizzy don't do things by halves, where you're like, oh wow, I could I really genuinely am in Mary Poppins. This is huge.

[17:12] William J Connolly: Yes, absolutely right. That's right. They do not do things by halves. I mean, that's why the show's been running for 20 years so successfully. It's never stopped, it's always been on somewhere in the world because they know how to make something really good. And the magic, of course, is where everybody falls in love with Mary. And there is so much magic in the show. It's so difficult to try and talk about specific things, knowing people have seen it, but then people haven't, and people are gonna bring the kids. So let's tread carefully with these questions. But you start off, of course, with the entrance that we mentioned, which is so spectacular, and we get some really iconic dialogue and some extraordinary lines that I find myself quoting rather regularly, which maybe says too much about me, but which is Jane Don't Stare, Michael Closed Mouth, et cetera, et cetera.

But when you then transition to the children's bedroom, there's of course practically perfect, which is a new song to this world, but also one of the first times you get to show a little bit of magic to the audience as well. What's it like knowing that they're sort of they want to see the Mary Magic, but you need you sort of make them wait, and then when it does happen, the audience must just go crazy.

[18:13] Stefanie Jones: They're actually kind of speechless. I have to remind myself, because I'm so used to doing this number, and I've done the show over 700 times now. It has become easy for me, which believe me is a blessing. And there was a day where I never thought this song would be easy. It's really hard because it's actually a hard sing, anyway. And then you have to add in all the movement and all the magic tricks. And so it really is patting your head and rubbing your stomach at the same time. There's a lot to think about. But now that I'm very used to it, it's not feeling as hard. And so sometimes if I finish the number and it feels a little bit quiet, I actually think they're just sitting there kind of trying to figure out how we just did that.

Obviously, it's not just me. I have a whole team of people hidden in places doing certain things that where I get to take all the glory, but it is not just me. So I feel very supported, but as well, I feel supported by, you know, the lighting and the staging. Everything has been designed so cohesively to support the magic in the show all the way throughout. And as well, I think what's special about the magic in our show, as opposed to shows that we're seeing now like Cursed Child or Stranger Things, or you know, I'm really looking forward to seeing Hunger Games. Our magic is very sort of picture book, story book. There's that sort of element to it. Like the way that the Banks household comes forward and opens like a fold-out picture book.

And it's sort of got that childlike quality to the magic, which is really charming, I think. And it also feels so nice that it does honor some of the most iconic, probably gifts that people say to each other of, of course, when it's like spoonful of sugar or the things going back into the cupboards or certain things appearing out of a very famous Mary bag. It feels like there are the childhood moments that probably the parents of the children that they're bringing remember, and then they're like, Oh, I remember the first time I watched Judy Andrews do that. And now I'm watching you do it. Like it's nostalgia all over.

[20:01] Stefanie Jones: Yes, it is, it is. And they've really tried to honor that because there's nothing more absurd that you can pull out of a bag than a hat stand. And I think you have to stick with the absurd for this, you know, for this show and that for that number in particular, because it's just so iconic. And then towards the end of the show, not the very, very end of the show, but a rather large, it's an umbrella, isn't it? I'm correct in saying you do get to see Mary in full glory and probably one of the most breathtaking moments of the show. Anyone that's been lucky enough to see it will remember probably that moment apart from the one at the very end of the show the most. What's it like when you're singing that song, which feels like it has this full Disney sort of orchestral moment with everybody is on stage and you've also got the giant umbrella.

[20:41] Stefanie Jones: I know it it's actually because I guess when we're underneath the umbrella, we can't really take it in when we're on stage, but it's a stunning musical orchestration. It's a gorgeous waltz where all the characters come together and it is our version of the children and Mary sort of flying through the stars and kind of revisiting all the amazing characters that we've encountered throughout the show. You know, Mrs. Corrie from her store where we sung Supercal, the Bird Woman, like even Miss Andrews is there because even though she is deeply damaged from her own upbringing and tries to impart her nasty lessons onto the children, you know, there's good in everyone. So it is about seeing the best in everyone, and that's why even the scarier characters come back at the end, because maybe Mary's magic can impart wisdom to all, you know, whether you're a child or an adult.

So it's just such a beautiful way to wrap up the show. It's such a spectacular number. And then, of course, we say our goodbyes and she flies away. Dot dot dot. I don't know if we should spoil too much, but it's my gosh. Let's try and ask this question by going round it. But there are production imagery, which means we won't be the get our sort of knuckles wrapped by saying too much, but you do get to fly away quite literally in a very special moment. How that happens will lead that to the audience to see. But is there any greater feeling in the world?

[22:00] Stefanie Jones: No, full stop. There is no greater feeling in the world. It is the most rewarding way to end a show, to break the fourth wall in that way, to be able to become to get a little closer, won't say much more. And just as well as an artist to be able to be harnessed up and flown. I mean, everyone has that dream. That's a cool thing. You just want to be able to do that. It's cool, it looks fun. You know that I'm, you know, I feel very safe. There's an amazing team who rig me up every night, and it is honestly just so rewarding. And then, you know, there's another tiny surprise at the end where I make it back down to the stage for my bows, which honestly is something people want to ask me about at stage door every night.

How did you do that? I'm like, well, I ran. I ran really fast. There was a video, I think it was of a regional production of Mary Poppins where somebody asked the same question. So the lady that was playing Mary very kindly kind of showed that process of how she went from a ridiculous American-sized theater, which is stupid, and she gets on a golf cart. Have you seen that?

[22:57] William J Connolly: Yeah, I think she was performing even at an outdoor theater, maybe at the Muni.

[23:01] Stefanie Jones: Yeah, I love that footage so much. I mean, I'm kind of not allowed to share any of those magical behind the scenes bits. But if you could be a fly on the wall, let me tell you, you would love it. It's unbelievable. It's just you have to go hell forever. It's funny. It's pretty funny to watch.

[23:19] William J Connolly: I feel like everybody has their favorite moment in a show. I feel like the one that I would look forward to the most, apart from the very, very final moment of the show would be when you get to go up a certain staircase.

[23:28] Stefanie Jones: Oh, yes. Does that feel cool?

[23:29] William J Connolly: It's so cool.

[23:31] Stefanie Jones: It's so cool. But I've got a lot to think about in that moment because I'm also singing a top C while sliding up a staircase in a corset. So they really do make things tricky for Mary on this show. There's always a lot that you're doing at one time.

[23:43] William J Connolly: But that's a very impressive moment. It's really fun.

[23:50] Stefanie Jones: I feel like they're really unkind to you with the stairs because Mary doesn't just walk upstairs, she like glides at a certain direction full, right? You've her hands are always full, there's always a vibe, there's always some form of like slight backwards look at the children. Like, just walk, Mary. Come on.

[24:03] William J Connolly: I know, I know. She always has to be so graceful. So you really don't want to trip and stumble because then she's definitely not practically perfect. But yes, thank you for noticing that she always has her hands full, or they're either clasped in front of her. She would never dare use a banister for support. So yeah, I think I go up and down the show stairs like 18 times, I think, per show. And then there's like the run down at the end. So there's a lot of cardio.

[24:27] William J Connolly: What is it like being part of a show as well, where you know that there is this extraordinary legacy of people that have a real emotional attachment, not in just to a character, but in particular a world and a show, and are very protective of it. What does it feel like to be able to be the vessel to sort of do that and to be given the responsibility? But also know that, as I said earlier, people are on your side as well, which means they're bringing great love and warmth towards you.

[24:50] Stefanie Jones: I think now it feels easier to sit with the knowledge that like I do have a responsibility. Initially, I was very nervous, and I actually had to kind of do a lot of work to shut that out of my mind and to not think about what people's opinions might be because they do hold Mary so close to their own hearts, which is a wonderful thing. And I don't want to take that away from anyone, but at the same time, that's sometimes a little bit too much pressure to put on one person. I mean, it's not even really comparable, but I kind of really resonated with Simone Biles in her documentary when she was having panic attacks and anxiety attacks about around the Olympics because of how much pressure the world had put on her to win.

And that is like a thousand times more stressful than you know what my job is. But Mary Poppins is known the world over. And by the time I finish this tour, I will have played it to millions and millions of people collectively. So that's sometimes a bit too much for your brain to take on. So you do just need to put it out of your mind, head down, bum up, as I say, focus on the work, go to rehearsals, take the direction, take all the notes, open the show, and then you get to settle. And then the more comfortable I start to feel in the role, then the more I can be open to receiving people's critiques or praise, whichever it may be, I suppose.

[26:04] William J Connolly: Yeah. The beauty of such a specific character is that the voice and the look and what she's saying all come from a place where it will feel similar to an audience, and your voice is so specific to this character where you want to do your version, but in homage to what people expect that it's like within four seconds, people go, Oh my god, that's Mary.

[26:23] Stefanie Jones: And I feel like from that point onwards, everything is on you.

[26:26] William J Connolly: Yeah, you're right.

[26:27] Stefanie Jones: And if they trust you, and if you are confident in the role and you lead, then they will come on the ride with you.

[26:34] Stefanie Jones: I think it was an interview that Ashley Brown did on Broadway where she spoke about the sometimes she had like a cheeky look when she was flying into the audience, but not like straight up, but like out towards people that maybe weren't in her line. She would see like grown men crying, or she'd see like kids like clutching their parents, like holding on to them when such a wonderful embrace, particularly because it's followed by those extraordinary words, which is we'll never forget you, Mary Poppins, we never will, which I think is the best writing in the whole show because it's so special that the kids say that.

[27:01] William J Connolly: Do you notice those very particular individual family moments happen as you take flight and through the show as well?

[27:08] Stefanie Jones: Yes, I have noticed them. And if the light hits a particular person at the right time, it's just it's magic for me to witness the magic that they're experiencing, to see children reaching up or waving and to see adults cry, especially grown men. And I didn't even know that Ashley Brown had said that because that's something that Jack and I talk about a lot. We love nothing more than seeing a grown man who could appear maybe to be dragged along in air quotes to the theater by his partner to be with the family for the day at the theater and to have them really have a turning point in the theater. Like that's magic. Like that's how musical theater can change hearts and minds, I think.

[27:47] Stefanie Jones: It's and then it's in those moments that we know that you know, back from COVID days when they were saying we are a non-essential service, the arts are a non-essential service. I said, Oh, like I respectfully disagree. Also, what a way to be able to bring families together, but also to know like everyone's feeling exactly the same thing, which is just like togetherness and love. And maybe you don't need the help of Mary Poppins, maybe you'll be able to solve in different ways, but that there's always a way to a solution. I feel like Mary's very much driven on there's an answer to everything. You've just got to be able to willing, be willing to find it and sometimes make some pretty difficult decisions, including parenting your parents at times, being able to upwardly manage, which I think is again just the genius of this world and this writing.

[28:28] Stefanie Jones: That's right. It is the genius of the world and the writing and just the fact that it's about the at the crux of the story. I know it's called Mary Poppins, and I know that she's the titular character, but I do think it's Mr. Banks' story and the story of the Banks family and how they come full circle and they break the chain of the habits and the generational trauma and they change their ways and they move on and parent beautifully and bring up their children differently. And then that in turn means that Michael Banks is going to be a wonderful father one day and it just keeps going and going and that's the joy that she spreads.

[29:01] William J Connolly: I know we're not allowed favorites, no more loud favorites, like favorite children as such in the show, but what is the moment that you think I cannot wait to sing this song? I cannot wait to perform this scene.

[29:08] Stefanie Jones: I look sometimes. I think it changes, and you know what? Like it can change night to night, as you say, with different casts of kids or our understudies who get to go on and do a different role. So then I'll suddenly be looking forward to doing a different number because so and so's on today, you know, that makes it really exciting for us. And especially when our covers work so hard in rehearsals during the day, and then they come in and do a show at night. We want them to have that gratification of getting to perform it to an audience. But I always, always, always enjoy Feed the Birds every night. The orchestration is second to none. The chorus of the ensemble coming in as the music swells, and I am so taken by St. Paul's Cathedral.

Ever in if ever I'm in London, I want to go and see it, and I am enabled by enamored by it. I will stand there and stare at that building as long as you let me. And it's been really nice to sing that number and sing about the cathedral. And because I've stared at it for so long, I think I can really picture it in my mind. So I really do enjoy that number. It's so stunning.

[30:10] William J Connolly: And you gotta do it with the children as well, which I imagine is nice to be able to see, particularly because obviously of course you've got the bird woman as well. So you've got like three different generations of people all singing together and performing together, which doesn't always happen, particularly in Disney musicals, which must feel special.

[30:23] Stefanie Jones: It is, it is really special, and it's really simple. The staging's really simple and the message is simple. And I guess even the number itself, like musically, can be a bit it's a simpler song, right? But there's that's the beauty of it, the simplicity. And I know that our show is so spectacular, like there's so much spectacle to watch, but then like a number like Feed the Birds, like that's the heart of the show. And I know that we get people with that one because it gets me every night.

[30:51] William J Connolly: What about Brimstone and Treacle? That must be the one where you go, right, strap in boys, we're gonna go.

[30:55] Stefanie Jones: Yes, that one is actually so much fun. That is such a fun battle to have with Wendy Ferguson, who is an icon of the stage. I mean, the original Carlotta, I was so nervous in rehearsals to first start singing that number in with her. I thought there is no way my voice can hold up next to Wendy's. But she's just amazing. She's amazing fun, she's so good in the role.

[31:19] William J Connolly: When you think back to the first time that you got the opportunity to play this part before you came to the UK, what was your favorite memory of being on in that production? What was the thing that stuck with you the most?

[31:30] Stefanie Jones: Wow. That's a really tricky one. I mean, probably the people. I just we all fall in love with each other and we become a family because you are working so closely with each other. And then I thought when I did say yes to doing the production again in the UK, I honestly thought to myself, I'm gonna do it for different reasons. It's because I want to travel, see different parts of the world, and I want to continue doing the show. I'm sure the people won't be the same. It won't be the same as I had at home. It can't be that good again, but it is it is that good again. And Richard Eyre said to us in rehearsals, he said there is something about this show that attracts a certain kind of person. And we have never had an unhappy company of Mary Poppins the musical.

And it's true. We all get on so well. We love each other, we're living together, we're traveling together, day trips together, having the best time. So there's something about the magic of Mary that just like permeates through the company.

[32:21] Stefanie Jones: I always love asking that question because it's always interesting that you always think the show would be the thing, but actually it's always, always, always the people.

[32:27] William J Connolly: Yeah, it is, it is, and that could make or break it, really.

[32:30] Stefanie Jones: And I just think the material that we get to perform every night keeps us happy as well.

[32:34] William J Connolly: Yeah, it's not being sweaty in step and time, that's not the real reason you wanted to come back.

[32:38] Stefanie Jones: That's yeah, that's the thing we have to push through, but as well, it's a very rewarding number that one. It's so impressive and the applause makes it all worth it. For like just sweaty Mary Poppins is just kind of the vibe, yeah, okay, bye.

[32:50] William J Connolly: Absolutely right, absolutely. I feel like what has very much been confirmed by you is that there is this magic about Mary Poppins, not just literally, but across the generations from your grandparents through to probably very young people that have maybe even too early got the opportunity to see the film or read the books. Now that you've had the opportunity to play her and now you've done that first leg, now you've got this second leg with a journey still to go. Do you think your thoughts on her? Do you think your love for her has changed since the beginning of this journey?

[33:18] Stefanie Jones: Yeah, I think it has evolved. And I shared with Jack that I thought I had mined into Mary Poppins as much as I could for the Australian production, and now I think I've leveled even deeper with my mining or leveled up, whichever way you want to talk about it. I think I understand her even more now. And I've still managed to find some new things, which has been amazing. There is there is no way I think my life is changed, actually, from playing Mary. I think even her lessons and some really classic famous lines from the show will probably ring true for me for a very long time. And even in decades to come, maybe when I even have my own kids, a Mary moment might pop into my head, and I will probably smirk and laugh and think, oh, there she is.

She never's she's never gonna go away, is she? But I don't want her to. She's just this is like she's a combination of PL Travers' genius and the genius of Mary, and the perfect casting of Julie Andrews. That's why. Like it's the trifecta, you had the trifecta there. And we're doing our best to keep her legacy going, and I think we're doing a really good job. And I think in the hands of Cameron, that's a really smart, wise thing. And I'm so glad that PL Travers finally let him have the rights to make a musical because he has nailed it. Nailed it completely. I love this show so much. It's so special. And I feel like every single time I watch it, I'm like, okay, and that's my life for the next six months listening to that cast album. Thank you so much. Just like around it. It like gets into your head. You're like, please.

[34:42] William J Connolly: Absolutely. I can never remember if it's the stage production, the film, the original book, or Mary Poppins Returns, which has my favorite line ever, which is I'm not sure I care.

[34:42] Stefanie Jones: I'm not sure I care. I don't actually think that's in the original movie with Julie Andrews. I'd have to re-watch Mary Poppins Returns to see if it's in there. But it's certainly in our show, and I get to say it. And I love how I get to say it. It is a classic.

[35:05] William J Connolly: It's so good.

[35:06] Stefanie Jones: It's just, it's just also not what you expect her to say, but also brilliant to Michael Banks. It's so good. It's so brilliant. It does get a laugh every night. See, it's such good writing. See, I don't even have to try.

[35:16] William J Connolly: And very finally, and this is always my favorite question. When you think back to your journey with this show, way back to the beginning. Do you remember, do you remember the first audition? Do you remember what that moment felt like for you, like audition number one?

[35:24] Stefanie Jones: I do. I remember, I yes, I remember the room, and I remember walking in and I remember what I was wearing, and I had been very careful to choose a certain dress and a certain shoe, and I'd done my hair a certain way, and I had red lipstick on. Because sometimes you never know if the creative team need to be spoon-fed, because sometimes they can't picture things. And I'm sure every creative out there would say, How ridiculous. I I'm definitely not that person. I can definitely imagine I might know you can't. I know you can't, sorry. Like I've seen it happen too many times. So I didn't want to miss this opportunity just because they thought I might not look the part, because I knew I could sing it, and I knew I could act it and dance it.

I knew I had it in me. And I just remember initially getting such a wonderful response from James Powell. He was the director who was in the room. He got up from a back behind the table. He's a very on his feet director. He loves to be on the floor with you. He's very hands-on in a wonderful way. And he was so kind. He knows every line in the show. He read in my Winifred Banks, my Michael Banks, Jane Banks, and my Mr. Banks. He read all the characters and did such a good job, mind you. And he's sort of been my partner in crime ever since, actually. I've just loved working with him. He came to Australia to put the show in. He put us in here in the UK, and he comes to visit every time we change venues and tightens it up a bit.

And he brings such a good sense of humor. So again, Cameron's done an amazing job, but leaving Mary in the hands of people like Mark Hedges and Richard Eyre and James Powell and Richard Jones, and Stephen Brooker, who's our music director, they're all just an incredible team who really really know what this show is and should be. And so yeah, they're our guiding light, I guess.

[37:07] William J Connolly: So if you think back to audition number one of this journey now, would you say 700 shows? Was that right? Over 700?

[37:11] Stefanie Jones: Do you know what the total will be if you do all the shows through to the end of this tour?

[37:16] Stefanie Jones: Well, I think as a company, we've collectively tried to count how many we have left, which might be about 200 or 220. So I don't think I'm gonna make it to a thousand. But that just means I'm gonna have to hassle them to take me elsewhere.

[37:30] William J Connolly: I like your thinking. I like the let's just say a thousand just to keep it clean for all of us.

[37:36] Stefanie Jones: Or fast approaching.

[37:37] William J Connolly: But if you think back to that first audition and the person that walked in and what that moment felt like in the response that you got, what do you think the Stefanie back then would think of the lady that's now sat on the other side of the world with 700 plus shows, gonna fast approach a thousand, feeling as you were honest with quite uncomfortable at the start with how much this show took out of you and how that is a process that is long every day but so so rewarding. What do you think she would think of the lady that's been sat talking to me for the last 45 minutes?

[38:04] Stefanie Jones: I guess she'd be pinching herself and she'd also be pretty proud.

[38:07] Stefanie Jones: Yeah. But then I on the flip side of that, I wouldn't want to tell her that we got the role and look where you are now, because then she might have done something different. So just wouldn't want to touch it, wouldn't want to butterfly effect sliding doors, mess it up because it's just been such a perfect, wonderful experience. And you have 200 plus shows, probably even more. I feel like your journey with Mary continues. Let's manifest that. Let's go to Europe next.

[38:30] William J Connolly: That would be nice. Why not? Don't give Cameron ideas. You know that he loves all these.

[38:36] Stefanie Jones: Cameron will be like, aha, the lady has a point.

[38:39] William J Connolly: That's so true. Stefanie, thank you so much for your time. I do genuinely really appreciate it. And most importantly, congratulations. 700 shows is extraordinary. What a massive achievement. And thank you so much for taking so much care of Mary Poppins. I really genuinely appreciate it. And good luck with the remaining shows. It's a real pleasure to meet you.

[38:54] Stefanie Jones: Thank you. Oh, this was a pleasure. Your questions were wonderful. Will thank you for being such a support of the show and of the arts.

[39:00] William J Connolly: Yeah.

[39:03] William J Connolly: You've been listening to eleven, the official theatre podcast. Find out more about eleven at elevenpodcasts.com or via the Broadway Podcast Network.