Chitty Chitty Bang Bang

Chitty Chitty Bang Bang is a stage musical, based on the 1968 film of Ian Fleming’s children’s novel. The film has so many stunning special effects and such vivid characters, that one wonders how can all of this be recreated on a live stage ? At Epsom Playhouse, we saw it happen.

The foyer and auditorium were busy and full of excitement. The A4 programme was beautifully put together and packed with photos, information and gorgeous drawings of costumes and Chitty.

It’s difficult to find enough superlatives to describe this production. John Harries-Rees has brought together many talented people from different disciplines and bound them together into astonishingly good musical theatre.

The stage was deliberately empty, to enable the smooth manoeuvring of vehicles, furniture, properties, etc. Three full-size vintage cars: the derelict Panther, the Vulgarian racer and the wonderful Chitty Chitty Bang Bang  were moved smoothly about the stage and Chitty even FLEW for us ! And there was a gorgeous, vintage motorcycle, powered by electricity and ridden by Truly. And all sorts of working, steampunk inventions. After the get-in to the theatre, Sarah Wood and her crew had mere hours to determine how all these things operated, where they would be used and how the devil to store them between usages. They deserve the highest praise for their efforts and success.

The excellent lighting was an enormous factor in creating the enthralling scenes. Very good sound effects also contributed to the magic.

Costumes included: gorgeous Edwardian race spectator outfits, smart, striped factory overalls, magnificent military uniforms and attractive Middle European aristocrat and peasant wear. With fifteen principals and around thirty ensemble members, it was a massive feat for Wardrobe Mistresses Michele Jordan & Julie Coveney.

Sam Fisher’s music was excellent throughout…the audience loved it from the start, clapping along to the overture. All the cast performed their songs well: their voices always clear and never dominated by the music. The dances and movements, created by Louise E Wilson were faultless and a joy to watch.

Joe Black was a lovely, gentle Caractacus Potts, showing great warmth to his children and father. He danced well and sang beautifully…especially in You Two and Hushabye Mountain and with Truly Scrumptious (Charlotte Fisher). Her singing was lovely, she was graceful and so watchable and particularly good in Doll on a Music Box. Potts’ children: Jemima (Niamh Ogle) and Jeremy (Conor Marsh) were delightful, totally in character and faultless in their performance. Their grandfather, Michael Lock, was a strong character with a fine singing voice…such as in Them Three.

The show had not one but two comic duos: the spies Goran and Boris (Mandy Harris & Tom Paine) and the Baron/Baroness (Robert & Michele Jordan). Both sets were by turns sinister and hilariously funny; and delivered some very good comic numbers. The Child Catcher, all soft voice and sinuous movement, was a seriously chilling portrayal by B P Ward, clad in dark and dreadful attire. Alex Derbie (Lord Scrumptious) and Peter Mahmoudi-Hartley (Toymaker) were polished in their performances. Holly Farmer, Gerald Taylor and Oskar Brown gave good support both in their characters and as part of a very fine ensemble.

Chairman Richard Coveney and the LOS committee are to be congratulated for their vision and their courage in mounting such a sumptuous show.

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