Chitty Chitty Bang Bang

The president of WMTC, Jenni Rulan, extended a warm greeting and personal hospitality to both of us from NODA, making us feel most welcome as we entered the theatre. This production holds much appeal for so many, with music aimed at the heart of our collective nostalgia with the star of the show being the car itself, so we looked forward to taking our seats.

Alf Rai, the director, successfully brought out the playful spirit of the show, and this performance had vibrant charm and at times a magical atmosphere. A brisk pace was maintained and the story moved quickly. The energetic group performances, such as 'Toot Sweets' and 'Me Ol Bamboo,' were skilfully complemented by softer, more intimate songs like 'Hushabye Mountain' and 'Lovely Lonely Man.' Alf's creative direction brought plenty of visual excitement to the show, incorporating physical comedy, vibrant colours, exaggerated expressions, and the awe-inspiring presence of Chitty. Although there were minor technical issues with the car's choreography that required precise coordination, this did not lessen the magical experience of seeing Chitty Chitty Bang Bang fly or move across water. For many in the audience, it remained captivating. The children cast in the roles of Jeremy and Jemima were a delight too. Simon McGee, who portrayed Potts, and Jade Dale, who played Truly, each distinguished themselves with their individual performances.

Rob Murray’s role as Musical Director was heroic. He led the live band, (with himself on the keyboard) and he was responsible for leading the entire vocals, skilfully balancing a rich musical score which feature emotionally expressive vocals with rhythmically precise ensemble performances, such as 'Me Ol' Bamboo.' Furthermore, he effectively integrated the mechanical sounds of Chitty, ensuring essential synchronisation throughout the production.

Recognition is also due to choreographers, Lindsey Vickers and Abbie Sellick for bringing dynamic energy to the production, particularly notable in "Toot Sweets," where the entire stage became a showcase of dancers executing precise movements. The highlight of the show’s dance numbers was the rhythmic, brisk tempo number, ‘Me Ol Bamboo,’ where the dancing with sticks was perky and polished. The characters, Baron and Baroness, led the dancing in ‘The Bombie Samba,’ with their sweeping movements, and the ensemble followed entertaining us with rapid fire footwork. 

The costumes stood out as well-suited to each unique character and ensemble member. They included Edwardian-inspired pieces, designs reflecting eccentricity or poverty, and several outfits with clear military influences. The set design was underwhelming, uncluttered and minimalist. This supported the seamless scene changes. The performance of Chitty Chitty Bang Bang included quick, densely worded lyrics that often overlapped, which occasionally made it hard to understand. This was especially noticeable when there was insufficient enunciation from characters, which may have been caused by the Vulgarian accents and acoustic difficulties.

Simon McGee inhabited the role of Caractacus Potts with charm and sincerity. The connection with the children was palpable and warm. He sang Hush abye Mountain with such tenderness and emotion that resonated chemistry with the children. In "Me ol Bamboo," he matched the fast-paced choreography and appeared effortlessly energetic, as if improvising his moves. Jade Dale delivered a confident and outstanding portrayal of Truly Scrumptious.   She had a relaxed physical stance when interacting with the children. Her vocals were crystal clear, a natural warm soprano whose every word could be heard distinctly. She maintained robotic rigidity flawlessly when singing, ’Doll on a Music Box, ‘while spinning around using stiff doll like movements. 

The children shared a strong rapport, which was particularly pronounced in their relationship with their father, Potts. Jemima Potts was played by Luella Blakeney for this performance, and Oliver Rudge took the part of Jeremy. They delivered dialogue with spontaneity and radiated an unspoilt sense of wonder. Their smiles lit up the stage and their pure voices merged seamlessly with Potts. They were endearing and performed with confidence. Although I was unable to attend the performances featuring Isaac Preece and Darcy Allsebrook in these roles during alternate shows, I received positive feedback affirming that their portrayals were equally convincing. Daniel Haddon played the spoiled overgrown man child Baron with a toy obsession, in a melodramatic, bombastic fashion. Nikki Rai delivered the role of the formidable Baroness with imperious physicality. Her performance was a triumph of high camp villainy with a simmering distaste for children. In the duet, ’Chu Chi Face, ‘both Nikki and Daniel showcased their comedic timing in this number and engaged us all with their petulance, menacing of each other and absurdity. Kelly Ashman portrayed the Child Catcher with a theatrical less imposing approach to the role and whilst it lacked the visceral edge often associated with the character, Kelly’s interpretation was earnest and she delivered the lines with conviction. The Vulgarian villains gave lively performances and were well-received by the audience. Goran was played by Matt Wirtz, and Boris by Craig Griffiths. Their expressions were wildly exaggerated and larger than life. Their over-the-top antics displayed infantile energy and although their dialogue appeared well rehearsed, it was sometimes disappointing to understand, partially due to the rapid pace of delivery and the heavy accent in which it was performed. Alex Jeffreys was well cast as the toymaker and adopted a cheery, determined outlook in his dialogue. David Callaghan captured the character of Grandpa Potts perfectly. He was suitably eccentric, wonderfully delusional and slightly ridiculous. David adopted this role with gusto and with strong vocals. Carol Burgess played the role of Miss Phillips with quiet confidence. Her body language officious. Lord Scrumptious was suitably played by Craig Wakelam, a supportive role in this production. The energy of the entire ensemble was infectious and that includes that of the children who were part of this show. Their focus was sustained and demonstrated how much heart was poured into this production. The ensemble vocal blend too was wonderful. The singing was hearty and there was an overall sense of joy and teamwork.

It was joyful evening. The audience had a blast, their loud applause appreciating it all. Congratulations to the cast and the crew. Rob, the MD, ensured the score remained as evocative as ever and Alf, the director, you nailed it! This performance was dedicated to Laura. I believe she would have been thrilled this evening.

© NODA CIO. All rights reserved.