Chitty Chitty Bang Bang Jr

Having established themselves as a hotbed for young talent in the Noda East 4S region, I was exciting to see what YouthActs Up! could do with ‘Chitty Chitty Bang Bang’. Equally I was curious to know, having played the Baron a couple of years back, how you could fit the show into one hour; the customary length for most youth productions. On this occasion, I was fortunate to be able to see both Team A and Team B take on the show, and each brought their own energy and spark to the stage.

The transformation of the village hall was impressive, with a circus tent backdrop anchoring the centre, Lord Scrumptious’s world on one side, Potts’ home on the other, and bursts of colour from sweets and a scaled-down model of the iconic car. Lighting and sound, capably managed by JR Light & Sound, heightened the atmosphere, while the addition of extra blacks created much-needed wing space and improved the flow from changing room to stage. In such an intimate venue, amplifying young voices can be tricky, but the majority of the cast came through clearly.

Casting was cleverly managed, with leads moving from principal roles to ensemble between the two teams. Team A boasted stronger vocalists, while Team B excelled in acting, but both offered lively, energetic performances that the audience lapped up.

Standout moments came early, thanks to the duos playing Jeremy Potts (Georgia Dewsbury for Team A and Molly Wreathall for Team B) and Jemima Potts (Poppie Duffield for Team A and Frida White for Team B). Their enthusiasm, stage presence and chemistry immediately set the high-spirited tone the show carried throughout.

Eve Morris and Chloe Hind alternated as the eccentric inventor Caractacus Potts—a role traditionally played by a man. While there was room for further nuance in Potts’ relationships with the children and Truly, both actors managed well and brought inventiveness to the part. Truly Scrumptious, portrayed by Emma Dewsbury and Jessica Smith, impressed with confident vocals and an especially entertaining “Doll on a Music Box” number.

The role of Grandpa Potts, a caricature not easily embodied by a teenage actor, was tackled earnestly by Violet Jefferys and Rosalie Russell. Credit to them for their commitment and comedic timing.

Comic gold came in the form of the Baron and Baroness, brought to life by Arison Martin and Emma Thornton (Team A), and Charlie Lake and Macey Arnold (Team B). Each pair offered their own spin on this iconic duo, drawing plenty of laughs and proving a highlight for the audience, particularly in the “Bombie Samba” number.

The car—the true star of the show—was reimagined with a deconstructed approach: a separate cardboard grill and four wheels operated by cast members. While creative in concept, the execution was a little distracting, as wheels drifted out of sync and the operators’ costumes and facial expressions drew attention away from the car and its passengers. Matching non-descript costumes for the operators might have helped keep the illusion intact.

Across both teams, the ensemble worked hard and seemed to enjoy every moment on stage. The big dance numbers like Ole Bamboo were very entertaining and generally executed well and in time with each other – not easy given that each show had a different set of people. Director and choreographer Becky Smith deserves applause for crafting a production that made the most of her talented cast and brought a sense of wonder and fun to all involved.

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