Chitty Chitty Bang Bang

VAMPS’ fantasmagorical production of Chitty got off to a chilly old start at the Saturday morning performance when the venue had to be evacuated.  Not for too long thankfully and the show was back on the road with curtain up only delayed by six minutes.  Not what you want just before curtain up any time let alone when you have a three-show day.  Well done to the venue and front of house team for keeping a calm front and getting an excited young audience back in quickly for a show that would delight any audience. 

Of course the real star of the show is Chitty herself and this car was no exception.  Rather than hiring in, this Chitty was designed and made from scratch to fit in with the restrictions of The Priory Centre Stage.  All the functional parts were individually controlled. An impressive undertaking and the audience anticipation when the car was about to fly was tangible and the effect itself impressive drawing deserved cheers and applause. Congratulations to Technical Creative Director Matt Oram, Engineer Dan Cooper, 1OneO and all involved in achieving something so impressive.  I am sure many other companies will be looking to hire it.. 

The staging was innovative with various sections of scenery gliding on and off. Although it was all very clever I did think it was less colourful than I expected, especially in the funfair scene.  Well done to the stage management team RaeAnna Hammerbacker (SM) and Natalie Różańska (DSM), Elizabeth, Casey Web and Max Caldicott for keeping things slick and quick, just what the audience wants.  Properties (Chloe Browning) were a challenge well met. Costumes (Lucy Napthine) were very good - loved the Baroness’ outfits.  Lighting was fine but we did have a dark area SL by the phone when the Spies were talking to the Baroness (who was in fact beautifully spotlighted).  Sound was fine except the underscoring of the dialogue when it was much too loud.  I have no idea at all what the Spies were talking about as they were drowned out.  Well done to Chitty’s controller for working the car so effectively although I wonder if you had to keep saying “Please”.

There was a strong Principal lineup led by Keith Jenkinson as Caractacus Potts who was very good.  He has a fine voice, had good interaction with the children and his pairing with Molly Gregorious as Truly Scrumptious worked well.   Molly’s beautiful voice was indeed Truly Scrumptious. I enjoyed all her vocals particularly Lovely, Lonely Man and Doll on a Music Box.  They were joined by Joseph Lawton and Eleanor Rees as Jeremy and Jemima Potts.  (Fleming Team on Saturday morning)  The Potts children’s roles are quite large but both Joseph and Eleanor were  splendid both giving very natural, confident performances.  The family was completed by Malcom Crawford as Grandpa Potts. I enjoyed his Roses of Success with the Inventors. 

This show bears more than a passing resemblance to a pantomime, and performances were judged to satisfy that genre, especially in the Land of Vulgaria.  I enjoyed immensely the entertaining and slightly over the top performances from Huw Nadin and Leah Blyth as the Baron and Baroness Bomburst. Leah’s vocal dexterity and facial expressions were wonderful,. Not to be outdone Huw conveyed his character’s ridiculous pomposity beautifully.  The two spies, Boris and Goran, played by Jenny Bane and Tom Kirkbride were a firm favourite with the audience although as aforesaid I had trouble hearing their dialogue over the music .  Also in the land of Vulgaria is one of the Baron’s favourite subjects, especially at birthday time, the Toy Maker very well played by Nick Bane and the Baroness’s very favourite subject the Child Catcher frighteningly played by Tom Monkhouse whose great make-up took scary to a whole different level.  Well done Makeup Artist Madeleine Carter.  The Ensemble (Fleming Team) was called upon to take on several minor roles and those that did gave a good account of themselves.

Vocally the Ensemble was very good and there was much evidence of good choreographic planning of the chorus in the dance routines especially in The Bombie Samba where it was most impressive as, despite being crowded, no one bumped into anyone and the routine seemed very slick.

With Emily Wainwright Meekins as MD, Choreographer Lucy Ali and Director Emma Driscoll in control this production met most expectations.  I wondered whether having to evacuate the venue would affect the cast who were already in  costume and made up but I suspect the adrenaline was well primed by the time they got back in the warm the unexpected bit of excitement did not affect anyone’s performance once the curtain rose.  As you would expect, the audience loved this splendid production of a really feel good show.  

Thank you for inviting me along and thank you Mel and Emma for looking after us so well.  

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