Like so many of the audience, I have loved the film version of Chitty Chitty Bang Bang for decades, as one of a cluster of truly magical children’s musical films, including Mary Poppins and Willy Wonka & the Chocolate Factory. But this was my first taste of the stage musical.
The moment the live orchestra hidden in the New Theatre pit struck up the overture, I could feel the audience bristling with excitement. It was a pretty packed house, remarkably so for a Tuesday night, and anticipation filled the air. The energetic ensemble burst into action for the opening number, and the kicks were higher and the leaps astonishingly lighter as the refreshingly mixed-age cast packed a powerful punch above and beyond expectations. Indeed, all the performers were superb: the singing, the dancing, the actors, the orchestra.
For me, the two comparisons to make were between this and (a) the film and (b) other stage musicals. In both comparisons I was a little surprised that the writing threw such an emphasis on elements of pantomime, as opposed to comedy, with more of the adult innuendo and knowingness, more overt clowning, and less of the innocence and magic and wonder of childhood. Indeed, some episodes involving the Vulgarian Baron seemed out of place - unnecessarily suggestive or explicit.
The contrast in aesthetics was also a surprise. The impression I carried away from the film was of the magical car sailing through clear blue skies; whereas this one sailed through a black starry night. Don’t get me wrong, this is not a criticism – it was not only completely comprehensible (it is much easier to hide the technical apparatus underlying a rotating aerial car against a black background), it was also utterly beautiful. It just gave an unexpectedly different feel.
The presentation of Truly Scrumptious was a little different, too: less feminine, more feminist (and wearing trousers, not skirts - none of that iconic Edwardian motoring head dress).This feisty character was played and sung beautifully by Ellie Nunn.
On the other hand, the Casting Director found a perfect Dick van Dyke substitute for Caractacus Potts in Adam Garcia, who could have been born for this role; and, as you can imagine, The Vivienne absolutely revelled in the role of the Childcatcher.
There were also half a dozen additional unfamiliar Sherman brothers’ songs, written specially for the stage musical. This included one, 'Act English', which seems a little dated now (who today has heard of “
The set design was utterly brilliant. The combination of vertical and horizontal wavy metallic lighting tracks surrounded by a peppering of headlights created so much versatility and so many imaginative possibilities, and allowed the designer to frame and use and fill the whole height and breadth and depth of the stage. The lighting and special effects were also dynamic and dramatic – though I felt very sorry for the woodwind and brass in the orchestra pit, when it was full of smoke during the dramatic gunboat sequence!
My favourite number ('Doll on a Music Box') was beautifully performed, which made me very happy; and the scene revealing the children hiding in the sewer was genuinely moving.
All in all, it was a lovely evening, with the