Production Run: Wed 7 - Sun 18 September 2016

Performance Reviewed: Wed 7 September (Press Night)


 

When reviewing touring Theatre, there’s a particular thorn in this critic’s side which he has come to name the ‘3 Star pass’. Whilst it may sound unduly harsh, it is that production - a reliable old classic that will usually guarantee fairly solid ticket sales on brand and recognition alone. Throw in a handy Z-lister or reality star here and there to help fill those extra empty seats, wind up the orchestra to ring out the old faithfuls, and a pleasant time is usually had by all.


 

There’s nothing remotely offensive about this model, really, and many going to the theatre would prefer to be in such safe and steady hands anyway; going in knowing exactly what they’re getting and getting it as such. Still, whilst one can often pat down the more cynical side of the brain which sits there screaming ‘cash grab’ or ‘flogging a dead horse’, there’s still that overwhelming sense that, whilst recognising not every production has limitless budget to squander, many such shows feel more than a trifle jaded, formulaic, unambitious. Humdrum.


 

Mercifully, in recent years the industry has seen some creatives throw this malaise to the wind and inject even some of the oldest of staples with new vigour and creativity. Last year, I applauded Nikolai Foster’s revival of Annie for doing so - heightening the entire production from art direction through to arrangement and performance - and breathing new life into it in the process. This year, we’re getting such a revitalisation of a real family favourite as Chitty Chitty Bang Bang gets more than just a new coat of paint, and being a musical that could quite easily coast as passable light fare, it is instead reimagined here by James Brining and company as a colourful, characterful and bomburst-ic delight of a show.


 

Kind-hearted inventor Caractacus Potts (Lee Mead, soon to be Jason Manford) and his two children Jeremy and Jemima (Elliot Morris and Darcy Snares in the performance reviewed) live a life of modesty as Potts desperately attempts to invent up a success. The family have still not recovered from the death of Mrs Potts, the children’s mother, and live with their eccentric but lovable grandfather, Caractacus Snr. (Andy Hockley). Their lives are changed and kickstarted into adventure when the children take to the remains of a former vintage, Grand Prix-winning race car, the titular star of the show, and encounter the delightful, and still wonderfully ludicrously named, Truly Scrumptious (Carrie Hope Fletcher).


 

The story is still intact and as delightfully warm and silly as it will be to any familiar with the 1968 Dick Van Dyke classic. What follows is a barmy yet adorable tale of childish dictators, musical confectionary, bumbling spies, underground revolutions, a genuinely terrifying child catcher, and of course, a floating - and later flying - fine four rendered friend.


 

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As mentioned, what makes this latest production such a success is its sense of scope, artistry and ambition. There’s heavy use of projection work which can sometimes prove counter-productive or artificial on stage, but here helps cultivate a beautiful sense of place, particularly in sequences where the family are driving (or sailing!) on Chitty. A surprisingly effective sequence involves the central car, our protagonists, and a pursuing gun boat on the high seas, whilst the Childcatcher’s arrival is always signalled by eery, almost Babadook-esque shadow work. Elsewhere, delicate touches such as drawn sketches of moonlight and boats during Lee Mead’s delicate and moving rendition of ‘Hushabye Mountain’ are understated, yet complement the vocals beautifully. 


 

It isn’t just in the exquisite lighting and projection work though. Simon Higlett’s sets have real height and scope to them, not only in their whimsical, heightened art direction and aesthetic, but also with some terrific use of levels throughout; see the villainous Baron and Baroness Bomburst (Phill Jupitus and Claire Sweeney) pop up and lambast from storey-high balconies, Grandpa Potts be raised up into the air and out of sight inside his privy, and watch as the dastardly Childcatcher swoops down on his unsuspecting prey from the heights akin to a demonic Batman.


 

Meanwhile, the cast ensure they put in equally colourful performances and never get lost or overshadowed by the colour and spectacle around them. Lee Mead is, as ever, a reliable, wholesome lead, in fine voice and dancing up a real storm during ‘Me Ol’ Bamboo’ in particular. If his take on Potts is a little more nuanced and subtle than Dick Van Dyke’s atypical showboating, it is welcome here - he is a grounding, likeable centre around which the other madness can pivot. Elliot Morris and Darcy Snares as the young Jeremy and Jemima Potts, ‘Team Blue’ of three rotating duos of children who play the roles, were faultless in vocals and performance - two supremely talented young performers who more than held their own against seasoned veterans. And musical theatre favourite Carrie Hope Fletcher simply goes from strength to strength, giving a wilful yet sensitive turn as Truly Scrumptious, suitably beguiling and offering beautiful renditions of ‘Doll on a Music Box’ and ‘Lovely Lonely Man’. Fletcher is, in many ways, the star of the show, and cements her standing as one of the Nation’s most popular - and capable - theatre names.


 

Rounding out the cast, Andy Hockley owns every inch of the stage and is tremendous fun as Grandpa Potts, whilst Matt Gillett brings an almost serpentine physicality and fluidity to his terrifying interpretation of the Childcatcher. Sam Harrison and Scott Paige hoover up scenes with relish and aplomb as bumbling spies Goran and Boris, or ‘Gordon’ and ‘Doris’ to give their hilariously unconvincing English alter-egos, even if the two are a little underused come Act II. Comedian Phill Jupitus smartly adds an extra dimension and flavour to the show, bringing a lot of laughs (particularly for the adults in the crowd) as he deadpans his way through the role of the infantile Baron Bomburst. Claire Sweeney, meanwhile, is his eminently watchable and gloriously over-the-top Baroness, chewing up the scenery, singing and dancing up a storm, and imbibing every grimace, gesture and swing of her hips with total character and hilarity. 


 

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There’s very little to critique with Chitty Chitty Bang Bang, outside of the inherent flaws with the original story - a late Act II revolution feels a little undercooked, and at times the show still struggles with tone, but these are desperate nitpicks to what is, on the whole, a sterling production of an old reliable given new wings (literally).


 

This latest touring production of Chitty Chitty Bang Bang may not re-invent the wheel, but it certainly gives it a new coat of paint, a hearty spit and polish, and ratchets its scope and artistry up to sixth gear. With a game and delightful cast behind the wheel, and a still-lovable story and score at it’s heart, it’s a show that will delight audiences of all ages and prove there’s plenty of life in the old girl yet.


 

Chitty doesn’t just fly, she soars.


 

RATING - ★★★★★
 

Tickets: 0844 338 5000  / Official Website: click