Chitty Chitty Bang Bang

Chitty Chitty Bang Bang tells us a story about imagination, adventure, and the unbreakable bond of family, wrapped in the whimsical charm of a flying car and the eccentric inventor who brings it to life. It’s a show that relies on heart, humour, and spectacle in equal measure, and Alderley and Wilmslow Musical Theatre Company embraced all three with enthusiasm. From the opening number to the final bows, the energy and commitment on stage were thoroughly impressive. There is nothing more delightful than seeing a theatre company listening to each other, supporting one another, and working together as a cohesive production team because that sense of unity elevates every moment.

We were greeted warmly by the front‑of‑house officials, who very kindly showed us to our seats. It was genuinely impressive to realise that we were sitting in a sports hall that had been transformed into a theatre. You wouldn’t believe it if it hadn’t been mentioned. There is always that slight worry when societies use venues that are not traditional theatre spaces concerns about acoustics, lighting angles, or staging limitations but the technical team delivered a smooth, confident performance. The lighting was purposeful and creative, the staging was clean and functional, and the sound was spot‑on. The whole stage was lit with intention, and the microphones were balanced correctly throughout. Great work, MSL, for turning a challenging space into a theatrical environment.

I wasn’t entirely sure where the band was positioned, but wherever they were tucked away, they played beautifully. The sound levels were appropriate to the space and never overpowered the performers on stage. Musical Director Ed Nurse deserves real credit for maintaining clarity and musicality throughout the show.

The ensemble delivered a wonderful performance, executing key numbers with enthusiasm and precision. Their movement was impressive, and their vocals supported the big musical moments with confidence. Numbers such as Bombie Samba were particularly strong because the choreography, character work, and vocal blend came together cohesively. The ensemble clearly understood their role in building the world of the show, and their commitment added vibrancy to every scene they touched. I did feel that Me Ol’ Bamboo came across slightly laboured. It’s a notoriously demanding number, rhythmically, vocally, and choreographically and perhaps the pacing or transitions affected the overall flow. It may simply have been a case of energy dipping momentarily in an otherwise lively production. Even so, the cast pushed through with determination.

Taking the lead was Ben MacKenzie as Caractacus Potts. His energy and characterisation were consistent, making him a thoroughly watchable presence throughout the story. What I particularly liked about Ben’s performance was that it was pitched at exactly the right level eccentric without being over the top, heartfelt without becoming sentimental. This worked because he grounded the character in sincerity rather than caricature. Ben’s vocals were equally strong. He didn’t overplay them, but sang with power, clarity, and conviction. Hushabye Mountain was a standout moment because he allowed the stillness of the song to speak for itself, creating a genuinely touching scene.

Francesca Bowman played Truly Scrumptious with poise and charm. Her ability to balance elegance with warmth made her a lovely counterpart to Potts. She handled her musical numbers with confidence, and her scenes with the children were particularly endearing because she brought a natural gentleness to the role. There was a nurturing quality in her tone and physicality that made the children’s trust in her completely believable. This authenticity helped anchor the emotional core of the story and added a layer of softness that complemented the show’s more adventurous moments.

It was lovely to see the parts of Jeremy and Jemima shared among young performers during the week, giving multiple children the opportunity to shine. On the performance I attended, I had the delight of watching Lewis Furness as Jeremy and Ella Crosthwaite as Jemima. These two were an absolute credit to the company. They were well‑prepared, confident, and demonstrated a clear understanding of intention and purpose in every scene. Their facial expressions were brilliant and completely added to the emotional heart of the story.

For me, the comedy duo of Boris (Jess Bray) and Goran (Katy Thomason‑Stewart) was a highlight. Their comedic timing was excellent, their entrances were never predictable, and their interactions with each other genuinely had the audience laughing. This worked because they committed fully to the absurdity of their characters without ever losing control of the humour. Derek Swain took to the stage as Grandpa Potts, delivering a warm and humorous performance. He played the role with a lovely blend of eccentricity and affection, which worked well because he captured the character’s adventurous spirit.

We then come across the Baron, played by Bradley Snelling, and the Baroness, played by Joanne Burton. Both performers were great at building the exaggerated, larger‑than‑life villainy that the show requires. Their scenes were playful, bold, and entertaining because they embraced the pantomime‑style humour with confidence. I have to take my hat off to Callum Burton. His ability to multi‑role shifting between the Toymaker, Coggins, and the Inventor was genuinely impressive. He changed his body language, voice, and energy to distinguish each character clearly. Well done, Callum, for bringing versatility and clarity to every role. No one likes the Child Catcher and Will Vickers made sure of that. His characterisation was chilling, controlled, and unsettling in all the right ways because he understood how to use stillness and vocal tone to create tension.

The car used in this production served its purpose beautifully. It brought joy and wonder to the audience, especially as it rose upwards. This moment worked because the technical execution matched the magical expectation. Director Joe Clarke has done a grand job of shaping a production that feels cohesive, energetic, and full of heart. His vision was clear, and his ability to bring out strong performances across the board shows a thoughtful and collaborative directing style. Rebecca Davies led the choreography with creativity and flair. The routines were varied, character‑driven, and well‑suited to the abilities of the cast. Her work stood out because she balanced spectacle with storytelling. Overall, this production was a success because it combined community spirit, strong performances, and technical ambition into a thoroughly enjoyable evening of theatre, thank you for such a warm welcome, I look forward to seeing you all soon.

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