CAMERON Mackintosh’s most enchanting of stage musicals, Mary Poppins, has returned home to the Bristol Hippodrome and it is practically perfect in every way.

A full 11 years since this dazzling, action-packed amalgamation of the much-loved film and PL Travers’ original books made its world premiere at producer Cameron’s home theatre in Bristol, everyone’s favourite flying nanny has returned for another spoonful of magic, mayhem and a message to value family over all else.

Audaciously stepping into the shiny black shoes of the title role, made so famously stern yet loveable by Julie Andrews in the film, is Zizi Strallen, who lives up to Mary’s measurements of perfection. Her voice reaches all those notes Andrews dared to conquer, her stature is Mary from every angle whether she is flouncing into the nursery, magically sliding up the banister or flying off above the audience holding her iconic umbrella and her dancing is as you would expect, impeccable. Moreover, this musical version of Mary is a little ‘trickier’ as her charge Michael Banks might say, enjoying more laughs with Bert (Matt Lee), gleefully doing away with nasty nanny Miss Andrew (Penelope Woodman) and whilst remaining mysterious – Mary Poppins never explains anything - she is somehow a little more human than in the film.

Australian Matt Lee is wonderfully charming as the one-man band and chimney sweep Bert who acts as narrator throughout much of the show and Wednesday night’s Jane (Ruby McGivern) and Michael (Colby Mulgrew) were both exceptional in very demanding lead roles.

Rebecca Lock makes the absolute most of her role as the almost irrelevant wife Winifred Banks, with overexcited hysteria and a beautiful, powerful voice whilst Milo Twomey makes George Banks more loveable than his film equivalent. Wendy Ferguson as the forever fretful and overworked Mrs Brill is also a joy to watch, particularly in an unforgettable kitchen scene in which everything falls apart only for Mary to work her spectacular magic.

Although several new songs have been written for the musical, the Sherman brothers' original score shines through in all their gloriously-catchy melodies. Of course Supercalifragilisticexpialidocious is one of the big show-stopper numbers, colourfully reinvented for the stage with dancing statues and the conversational shopkeeper Mrs Corry, and the speed of which the entire cast sing and spell out this song is breathtaking.

Step in Time provides the dancing magic as well as one of THE moments of the show when Bert tap dances upside down across the top of the stage and Feed the Birds is not only performed stunningly by bird woman Grainne Renihan but is one of many times the production utilises modern techniques to add a sprinkling of magic with a huge screen depicting the fluttering of birds outside St Paul’s Cathedral.

But there is also much to enjoy in George Stiles and Anthony Drewe’s new songs Practically Perfect, Brimstone and Treacle and Anything Can Happen all of which are as memorable as the originals.

And there is one more star of this most momentous of shows – well actually a huge and talented team of them – the set designers and technicians who bring Mary’s imaginative and enchanted world to life. From the life-size pop-up house which literally unfolds to become the interior of 17 Cherry Tree Lane to Mary’s mysterious carpet bag which somehow holds a hat stand, her numerous flying escapades, flowers being plucked from a picture and draws, cupboards and curtains all seemingly moving under the nanny’s instructions, the set is simply amazing.

This has to be one the most rewarding, spellbinding and charming family musicals ever made. If it does not leave you smiling from ear to ear, singing all the hit songs endlessly for days and raving about its brilliance, perhaps you could do with a visit from Mary Poppins and her unfathomable and delightful ways.

Mary Poppins is on at the Bristol Hippodrome until Saturday, November 28.