Chitty Chitty Bang Bang

Chitty Chitty Bang Bang whisks its audience into the fantastical world of eccentric inventor Caractacus Potts, who—armed with nothing but imagination, determination, and two bright‑eyed children, Jeremy and Jemima—rescues a battered old race car from the scrap heap. Little do they know that their restoration project is no ordinary motor: this one floats, flies, and sparkles with magic. But danger soon arrives in the form of the deliciously dreadful Baron Bomburst, who wants the enchanted car for himself. Joined by the ever‑radiant Truly Scrumptious, the Potts family zoom off to Vulgaria to rescue Grandpa Potts—kidnapped by the gloriously incompetent double‑act Boris and Goran—and to help free a kingdom terrorised by its child‑hating rulers.

James Down delivered a warm, affectionate Caractacus Potts, blending fatherly tenderness with bursts of inventive eccentricity. At times his dialogue raced ahead a touch too quickly, but his heart and energy were undeniable.

Ashlea Allsopp was a charming and confident Truly Scrumptious, her marvellous singing voice filling the theatre with ease. Her connection with the children felt natural and genuine.

John Dowell’s Grandpa Potts was a delightful cocktail of British eccentricity and military nostalgia—“A boy of the old brigade” indeed. Wonderfully dotty.

Graham Breeze revelled in the role of Baron Bomburst, embodying a spoilt man‑child with the emotional maturity of a toddler. He clearly had a ball.

Rachel Smith’s Baroness Bomburst was every inch the scheming, manipulative puppet‑master behind the throne. A couple of gags were delivered a little too lightly, but her characterisation was strong and consistent.

On the night I attended, Louise Capp (Jeremy) and Scarlett Hejtmankova (Jemima) formed a believable, affectionate sibling duo whose chemistry anchored the family dynamic beautifully.

Michael Hutchinson and Stephen Johnson as Boris and Goran were a riot—two utterly hopeless villains whose incompetence made them strangely endearing. Loveable rogues through and through.

Barry Thompson’s Childcatcher was chilling, sinister, and unsettling—a stark contrast to his appearing as the penny‑pinching Junkman.

Martin Lay doubled as Lord Scrumptious and the Toymaker, excelling in both. As Lord Scrumptious he was the picture of a meticulous factory magnate; as the Toymaker he radiated genuine concern for the Potts children and the hidden youngsters of Vulgaria.

Musical Director Ed Jones drew rich, confident performances from the entire company. The harmonies from Caractacus, Truly, and the children were especially lovely, and the ensemble numbers were very vibrant.

Juliet Lennox’s choreography was excellent—Me Ol’ Bamboo in particular, was a high‑energy showstopper that crackled with precision and fun.

Michelle Hejtmankova’s direction enabled every character, from chorus/ensemble to principals, to shine brightly. The show never lacked pace or dynamism and flowed from scene to scene.

Sound quality was strong throughout, and the lighting design was especially atmospheric in the sewer scene.  Props were cleverly used to give every performer purpose and presence. Costumes were excellent overall— although I did have an issue with Grandpa Potts uniform. English army chevrons are worn on the right arm and point downwards – not the exact opposite, which is the American way.

The stage crew, led by Stage Manager Steve Young, worked with slick professionalism. The transformation from wreck to Chitty was immaculate.

Who knew that a car could float or fly? But we “saw” it happen. As always in this show there is only one thing that everyone wants to see – the phantasmagorical Chitty Chitty Bang Bang – the true star of the show.

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