Chitty Chitty Bang Bang JR

From the moment I took to my seat, it was clear that Manchester Musical Youth had poured their hearts into creating a vibrant, imaginative, and thoroughly entertaining production of Chitty Chitty Bang Bang JR. The use of a range of raised platforms added a dynamic sense of depth and elevation to the overall staging. These levels not only enhanced the visual composition but also allowed for more creative blocking and movement, giving the young performers opportunities to explore spatial storytelling in a way that felt both ambitious and effective. One of the most striking elements of the production was the artwork used in the projections, created by Dave Holden. These illustrations were absolutely brilliant, evocative, whimsical, and full of character. They added a fresh visual layer to the show that felt entirely unique compared to other versions of this musical. The drawings reminded me of classic storybook illustrations, with a hand-drawn charm that complemented the fantastical nature of the story. It was a clever and creative choice that elevated the production design and gave the audience something visually rich to engage with throughout.

Of course, no live performance is without its technical hiccups, and there were a few gremlin issues with the microphones. At times, it was difficult to determine whether the backing tracks were slightly overpowering or if the microphone balance levels weren’t quite right. These moments occasionally disrupted the clarity of the vocals, which was a shame given the evident talent of the cast. However, these are minor teething issues that are common in youth productions and didn’t detract significantly from the overall enjoyment. Sight lines presented another small challenge. There were instances where items of physical set were not fully removed from the stage, or tab curtains failed to completely mask backstage activity. As a result, off-stage cast members were sometimes visible, which momentarily broke the illusion of the world on stage. These are easily remedied with tighter stage management and more attention to transitions, and they’re worth addressing to ensure the audience’s focus remains undivided.

The choreography was a triumph! The movement throughout the show was slick, polished, and impressively executed by the young cast. A particular highlight was the “Old Bamboo” number, which was bursting with energy and precision. The coordination and rhythm demonstrated here were a testament to the hard work of both the choreographer and the performers. It was a joy to watch and had the audience tapping along in their seats. Another standout moment was the “Teamwork” number. The vocals, the energy, the timing, everything about this sequence was spot-on. It was polished to perfection and delivered with such confidence that it felt like a professional-level performance. The cast deserves immense praise for the execution of this number; it was a real showstopper and left a lasting impression.

One of the most inventive aspects of the production was the use of physical theatre to represent the iconic car. The young performers who physicalised the wheels, headlights, and overall movement of the car brought a sense of magic and ingenuity to the stage. It was a brilliant idea that showcased the group’s creativity and willingness to think outside the box. That said, a small suggestion: when performers are dressed in black and embodying the car, they should remain neutral and avoid acting or reacting during scenes where other characters are performing. Movement during these moments can cause a slight distraction and confuse the audience’s focus.

In terms of individual performances, Freddie Cummins as Caractacus Potts was a standout. His characterisation was strong, and his energy on stage was consistent and engaging. Freddie brought warmth, charm, and a touch of eccentricity to the role, capturing the essence of Potts with ease. His interactions with the children and other characters were natural and heartfelt. Joss Gavaghan as Truly Scrumptious was delightful. She embodied the grace and kindness of the character while also bringing a sense of strength and independence. Her vocals were clear and expressive, and she had a lovely stage presence that made her scenes a pleasure to watch. Finn Walker as Grandpa brought a wonderful sense of humour and eccentricity to the role. His timing and delivery added a layer of charm to the character, and he handled the comedic moments with confidence. Albie Gilbert and Amelia Fairhurst, who played Jeremy and Jemimah, absolutely stole the show. Their chemistry on stage was heartwarming, and their interactions felt genuine and full of joy. Both demonstrated excellent stage presence, and their energy never waned. Vocally, they were strong and expressive, and they handled their roles with maturity and enthusiasm.

Harry Connor and Freya Gow as the Baron and Baroness brought plenty of flair to their roles. While some of their comedic timing felt slightly rushed, causing a few punchlines to be missed, they still managed to deliver entertaining performances. Their duet was sung with excellent vocals and characterisation, and they clearly enjoyed playing these larger-than-life characters. The spies, Boris and Goran, played by Dominic Smith and Maddie Whyte, were a comedic highlight. Dominic in particular demonstrated superb comedic timing, delivering lines and physical comedy with precision. It would be exciting to see how Dominic continues to develop this skill in future roles, as he clearly has a natural talent for humour. Abigail Rogers as the Child Catcher brought a chilling presence to the stage. She captured the sinister nature of the character with poise and control, creating a palpable sense of tension whenever she appeared. Her performance was both memorable and suitably unsettling exactly what the role demands. Jasper Holden as the Toymaker gave a wonderfully nuanced performance. He brought warmth and wisdom to the character, and his scenes were filled with gentle humour and kindness. His portrayal added depth to the Toymaker, making him more than just a supporting role.

Overall, the entire cast put their heart and soul into this production. It was evident that these young performers have a genuine passion for the performing arts. Their vocal talents were impressive, their characterisation thoughtful, and their choreography well-rehearsed and engaging. The energy they brought to the stage was infectious, and the audience responded with enthusiasm and admiration.

Thank you once again for your kind invitation and I shall see you all soon.

 

 

 

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