Chitty Chitty Bang Bang

It is always good to report on a show that one has never seen before.  I think almost everybody has seen the film, Chitty Chitty Bang Bang but I must have missed seeing the stage show which ran at The Palladium from 2002 to 2005, before opening on Broadway the same year. Last year first saw the licence being released to selected amateur groups. Ian Fleming wrote the novel in 1964 and it was adapted as a film by MGM with music and lyrics by the Sherman Brothers.

On arrival we received a warm welcome from Val Scott, one of Trinity Music and Drama’s friendly Front of House staff.

The opening number saw the two Potts children in an old racing car that won the 1910 British Grand Prix. The children for this Friday evening performance were splendidly played by Sienna O’Brien (Jemima Potts) and Samuel Walker (Jeremy Potts). What talent these two young people had. Superb articulation, acting and singing made this pair a treat to watch. I look forward to seeing them rise through the ranks to adult musicals in the coming years.

Joining them was their father Caractacus Potts (Jonathan Davis) who took us on a journey, showing the versatility of a sensitive father singing ‘Hushabye Mountain’, to energetic entertainer in ‘Me Old Bamboo’(great dance routine here) and being the rag doll in ‘Doll on a Music Box’

His love interest was Truly Scrumptions (Amy-Serin Leslie) who was not only beautiful to look at but had a wonderful clear pure singing voice and good articulation. She worked exceptionally well with the children. Congratulations Amy on bringing Truly to life on stage.

One of my personal favourite actors on stage was Grandpa Potts played with gusto by Mick Wilson.  With reminisces of Lionel Jefferies, he embodied the character so well with great comedy timing. His singing too was excellent.  What a wonderful role to portray.

Baron Bombast/Lord Scrumptious (Paul Osborne) and Baroness Bombast/Miss Phillips (Jacky King).  What delightful roles to be able to have such fun in.  Both were very humorous, showing the rapport between them which was excellent.  Jacky as The Baroness really threw herself into the role with her costume for ‘Chi Chi Face’ bringing a wow factor and Paul as The Baron giving us the childish absurdness that was needed, very enjoyable performances from both actors. 

Howard Brooks as The Toymaker, a charming role to portray played with the gentleness needed. Lovely singing from Howard and a soft gentle manner added to the character.

Karim Wilkins (Child Catcher/Junkman).  I loved the role of the evil Child Catcher and thought that it would give even the oldest child nightmares. I wish that this character could have had more to do; the evil characters can give so much more to a show and of course get the boos from the audience.  Karim was super as The Child Catcher with a brilliant costume and makeup. His voice was just as I remembered from the film.  I’m afraid I did not realise that the Junkman was supposed to be the equivalent in the Garage scene as this did not come over to me, nevertheless a good performance by Karim.

The Vulgarian Spies – Boris and Goran (David Ehren & Mark Clements) were a good team and worked extremely very well together. Good accents from both and lots of humour.  I think some of the gags may have been lost on the audience but I thought they were funny. I loved the song ‘Act English.’ Director Debbie Field choose well to cast these two and the audience loved them.

The ensemble of dancers, singers, actors and children obviously enjoyed being onstage with lots of smiling faces.  They all had beautiful professional costumes which they seemed to change constantly all the way through the show. The thirteen piece band led by Gerald Hines supported the cast throughout, never overpowering the singers on stage.

The professional set was very colourful and bright using muslins for some of the scenes which worked well.  I have to say I was a little disappointed in the car as it seemed a bit of a let-down when the wings seemed to very slowly come out and the car only seemed to lift upwards towards us.  I must admit to hoping for more technical effects here with projection and lighting helping to make this more spectacular. 

I did feel also that Director Debbie Field was a little safe in her directing, as it did seem staged and for me did not flow so well in parts. Blocking, when all the cast were on stage was sometimes a problem, also impeding the finale when the car opens its wings again, as it did not seem that enough space was allowed.  But for all of that it was a good night’s entertainment and we look forward to seeing Trinity’s next production.

 

 

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