Charlie and the Chocolate Factory

Charlie and the Chocolate Factory is a story that has captured imaginations for generations, and Centre Stage Theatre Company’s production embraced its eccentricity with flair and heart. From the moment we arrived, the warmth of the Company was evident. We were greeted not only by the front of house team but also by Rachael Ashworth herself, whose warmth and hospitality set the tone for the afternoon.

As the curtains opened, we were quickly immersed into the world of Charlie Bucket and his family. The live orchestra immediately filled the theatre with energy, though at times the volume tipped slightly too far, overpowering dialogue and vocals. It was clear the cast were aware of this, occasionally raising their voices to compete, which resulted in some shouting of dialogue and vocals. Despite this, under the musical direction of Claire Sweeney, the score retained its quirky charm and jazzy unpredictability, capturing the essence of Leslie Bricusse and Anthony Newley’s compositions.

The choreography, created by Taya Bosson, was lively and inventive. It captured the eccentricity of the characters while maintaining a strong ensemble presence. The Oompa Loompa sequences were particularly memorable, full of playful energy and clever staging that kept the audience entertained. The use of projections at the back of the stage added depth to the settings, managed with precision by the backstage crew. While a few transitions felt slightly prolonged, overall, the visuals enhanced the storytelling. The reveal of the Wonka Factory was a highlight, authentic and surprising, and the acting in front of the tabs ensured that the curtain work never became predictable.

Costumes played a vital role in bringing the world to life. The Oompa Loompas in orange tops and white overalls were delightful, and the doll-like costumes worn by the young performers added a surreal edge. Violet’s blow-up purple costume was a crowd-pleaser, as were the inflatable squirrels, both of which captured the eccentricity of Dahl’s imagination. The Bucket family costumes, however, felt a little too clean; a touch more wear and tear would have better conveyed their poverty.

Dave Oliver took to the stage as Willy Wonka dressed in flamboyant attire, and his performance was a triumph. Vocally, he delivered with clarity and control, mastering the unexpected intervals and chromatic lines of Pure Imagination. His portrayal of Wonka was carefully built throughout the production, culminating in a brilliant climax during the elevator scene. Dave Oliver struck the perfect balance between playful eccentricity and deliberate unpredictability, never overplaying the role but instead layering it with nuance. His interactions with the other characters were unusual yet measured, creating a fascinating dynamic that kept the audience engaged. Opposite him, Abigail Pottinger played Charlie Bucket with innocence and sincerity. Her performance was the moral heart of the production, grounding the eccentricity of Wonka with simplicity and emotional truth. Vocally, she sang with clarity and control, executing extended lines with ease and delivering dialogue with sincerity. The relationship between Charlie and Grandpa Joe, played by Tony Rostron, was particularly touching. Tony’s portrayal was warm and authentic, full of shared imagination and gentle humour, making their scenes together a joy to watch. Grandpa Joe’s sense of wonder mirrored Charlie’s innocence, and together they became the perfect lens through which the audience experienced Willy Wonka’s world. Tony balanced humour with tenderness, never allowing the character to slip into caricature. His gentle encouragement of Charlie’s imagination, whether in dialogue or song, added layers of poignancy to the story.

The other grandparents, Kieran Hickey as Grandpa George, Angela Rostron as Grandma Josephine, and Taya Bosson as Grandma Georgina, were positioned on a raised bed, often dozing or chatting in character. Their presence added comic relief and a sense of family intimacy. Keeley Hopkins as Mrs Bucket brought tenderness and resilience to the role, grounding the family scenes with maternal warmth. Keeley Hopkins as Mrs Bucket was the emotional anchor of the family scenes. Her portrayal was tender yet resilient, embodying a mother who, despite hardship, remains steadfast in her love and support for her child. Keeley brought a quiet strength to the role, never overstated but always present, grounding the family in a sense of stability.

Nastasha Robson was a standout as Mrs Gloop. Her accent and characterisation were spot on, bringing a comic exaggeration that perfectly captured the larger-than-life nature of the character. She leaned into the humour of the role without ever losing its authenticity, and her timing in both dialogue and physical comedy was impeccable. The audience responded warmly to her every entrance, and she managed to balance the absurdity of Mrs Gloop with a believable maternal pride in her son. Jake Ashworth as Augustus Gloop was equally entertaining. His commitment to the role was evident from the moment he stepped on stage, embodying the gluttonous nature of the character with gusto. The running gag of him working his way through countless sausages was a humorous detail that delighted the audience, and Jake played it with such conviction that it became one of the afternoon’s most memorable motifs. His physicality added to the comedy, whether waddling across the stage or reacting to the chaos around him, he kept the character consistent and engaging.

Veruca Salt, played by Abi Jackson, captured the bratty entitlement of the character well, supported by Ryan Gia as Mr Salt. At times their volume dipped, but their consistency in characterisation carried the roles. Violet Beauregarde, played by Megan Bale, and Mr Beauregarde, played by Anthony Awe, brought energy to their scenes, though some dialogue and vocals were difficult to catch. Eliza Burden as Mike TeeVee was excellent, delivering the spoilt child with comic timing and energy. The famous scene where Mike TeeVee ends up on actual TV was well directed. Sara Barton as Mrs TeeVee played the overbearing mother effectively, though again volume occasionally proved a challenge. Together, they created a dynamic that was both entertaining and exaggerated in just the right way.

What really stood out across the afternoon was the ensemble energy. The younger performers brought vibrancy and humour, particularly in the Oompa Loompa sequences, which were inventive and visually striking. Their enthusiasm was infectious, and the audience responded warmly to their presence. The pacing of the show was well-judged, with moments of spectacle balanced against quieter, more emotional scenes. The production never dragged, and the audience remained engaged throughout.

Technically, the show was ambitious. The use of moving platforms, projections, and inflatable props created a sense of wonder and surprise. The timing of these elements was mostly spot on, and when combined with the strong performances, they elevated the production beyond a straightforward retelling. I did like the elevator scene at the end, however, there was just a little too much movement of the elevator that took away the compelling nature of the musical number for me. The lighting design also deserves mention, particularly in the factory scenes, where shifts in colour and intensity mirrored the eccentricity of Wonka’s world.

By the end of the afternoon, Centre Stage Theatre Company had delivered a production full of eccentricity, warmth, and imagination. Despite minor technical imbalances, the performances were strong, the staging inventive, and the costumes delightful. This was a show that embraced the spirit of Roald Dahl’s story, balancing moral sincerity with playful eccentricity, and leaving the audience with a sense of wonder. The applause at the curtain call was enthusiastic and well-deserved, a testament to the hard work and creativity of everyone involved.

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