Charlie and the Chocolate Factory

Charlie and the Chocolate Factory is a childhood memory for so many familiar with the book by Roald Dahl, and with two different films capturing different generations. It is indeed a place of ‘pure imagination’ as the song goes. In this new musical version you can see inspiration taken from both the Gene Wilder and Johnny Depp film versions, with this bringing more hilarity than both, but with some of the darkness of the latter, which of course reflects the original story. But it’s not just escapism, there are deeper meanings of believing in hope, and a little magic; about how important imagination is, and that being selfish will get you into all kinds of trouble, and kindness will ultimately bring you happiness. It’s also a challenging and tricky musical to stage, not least the score which seems Sondheim-esque in its complexity and speed. But if any theatre company can do this justice, it’s Brighton Theatre Group, who rise to and excel at this challenge with professionalism, charm, and enviable joie de vivre.

This is one of those rare productions where every single aspect works absolutely perfectly. From the welcome and atmosphere at the theatre to the magnificent lighting design, the colours changing beautifully to reflect personalities or moods or seasons: changing from a yellow to orange glow in one scene as Charlie was singing; and bathing Veruca Salt in pink when she appeared. The costumes are exactly as over the top as they need to be: pink fur, tutu and ballet pumps for Veruca Salt, Bavarian yellows and browns for the Gloops complete with many a sausage string, and Willy Wonka’s purple and orange tailcoat and top hat ensemble. Charlie appearing as a mini version at the end with a little dance is a lovely touch. The Buckets are all as poor as Church mice, reflected in their drab clothing, and the pinnacle of costumes and makeup are the genius idea of the row of Oompa Loompas in white apron style suits with copper orange wigs. Although perhaps another genius moment was the squirrel costumes which are absolutely hilarious and superb. Special mention needs to go to Chris Horlock and team for incredible makeup for everyone, including ageing up of Grandpa Joe and others that is impossible to tell from reality.

The tech involved in this show is incredibly complex: huge backdrops flying down, some with massive opening doors, against moving projections and gorgeous sunsets, or night skies that sparkled. Charlie’s house, with one big bed which held all the grandparents, was super: rickety and old and poor. The shop that appeared occasionally in act one with an undercover Willy Wonka was well done and situated, and the staging of the reporters in the centre which Charlie watched on TV in the shop was a great use of space. There were many other tech effects on show: raining golden strands on stage, bubbles out over the audience, haze for the clouds at the base of the elevator which really did look like it was going up at the end, lifted on a platform with the moon in the sky and the town below; and many an adult as well as children trying to catch the golden streamers that showered over the audience at the end.

The music for this show isn’t instantly popular or easy to sing along to, often with half notes, so congratulations to all the actor singers in the whole show, and to Musical Director Dan Lacey and the orchestra who hold the production beautifully. The singing on show in this production is absolutely mind blowingly superb. There isn’t a musical instrument note out of place or a sung pitch out of place in the songs, and some of the songs are very tricky. Choreographer Jodie Michele, who is always incredible, has created some of the best dances ever seen on the stage: the shapes they all make are captivating, everyone drilled and moving in sync, even with seemingly masses of them on the stage at any one time, or dancing in what must be quite restrictive costumes, including full size squirrel costumes at one stage. They are a total joy to behold for anyone who loves to watch dance done well, and this is exceptional.

What’s amazing here is what a truly magnificent ensemble production has been created: the energy and vivacity from every single person who look like they are having the time of their life on the stage is almost palpable. Yet even in this gorgeous ensemble work some scenes and actors shine like beacons too. The sausage song of the Gloops will live rent free in the minds of many in the audience for them to chuckle about for many moons to come; Lucia Romero Clark is sublime as Mrs Gloop, with her gleeful whipping of sausages and her brilliant characterisation of the otherwise not very pleasant Mrs Gloop. A joy to watch and to listen to as well. Nathan Charman’s beautiful singing voice as Mr Salt has such a lovely quality, almost like liquid chocolate. Nyx Thompson’s beautifully comic timed performance as Mrs Green shows how much you can make a brilliant and positive difference with even a small part. Ailsa Rice is brilliant as Veruca Salt, always on, always listening and reacting to what’s going on as her spoilt character should be, with great facial expressions and character embodiment, yet still somehow making this unlikeable character likeable as well as extremely watchable, as well as a gorgeous singing voice. Phil Nair-Brown is superb as Grandpa Joe, completely immersed in a layered portrayal of a character which in lesser hands could be one dimensional, complete with beautiful singing voice.

The fuel for this whole show lies in the fire of Carl Lovejoy’s Willy Wonka. The physicalisation of the character, traits of the bonkers chocolatier that he adds, the powerful amazing singing and dancing and some of his movements being almost as supple as a rubber band: absolutely jaw droppingly sublime and superb. He drives everything with childlike energy of a character unaware of the consequences of his actions: epitomising Willy Wonka. Paired with him is Lenny Kerr’s soulful and hopeful portrayal of Charlie, with a touch of vulnerability at times, and at times an enviable childlike confidence. His singing is truly wonderful, often holding the stage alone, with the audience in the palm of his hand. The whole production is hopeful and uplifting, just what we need in these times, beautifully directed by Michael Burnie. You can feel the joy and the love for what they do from every person involved, and to have such a team is a huge achievement. It’s quite simply flawless, reflected in the standing ovation from the audience at the end. The hugest, warmest congratulations to every single person involved for a stunning, striking and star quality show.

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