Chitty Chitty Bang Bang
Geared Up as an Automatic Hit
Chitty Chitty Bang Bang
by Richard M. Sherman and Robert B. Sherman, adapted for the stage by Jeremy Sams; after the novel by Ian Fleming
Crossroads Live at the New Wimbledon Theatre, until 26th May, then on tour until 10th May 2025
Review by Michelle Hood
An unlikely star of the show – but, it’s all about the car – and, in this case, it’s our fine four-fendered friend which takes centre stage as Caractacus Potts’ phantasmagorical car, Chitty Chitty Bang Bang, flies into the New Wimbledon Theatre in a refreshed stage adaptation currently touring the UK.
Inspired by the 1964 children’s novel by Ian Fleming, the subsequent 1968 musical fantasy film, with music and lyrics by brothers Richard and Robert Sherman, became an instant classic with its catchy songs and memorable scenes. Then followed the first stage adaptation of Chitty, opening in 2002 at the London Palladium, with some added songs by the Sherman brothers, since when the book has been further developed culminating in this latest fresh adaptation by Jeremy Sams.
If you enjoyed the film, then there’s little doubt you’ll enjoy this family blockbuster of a show. All the well-known characters from the film remain and, from the beginning, the audience know what to expect – an absorbing storyline and a host of familiar songs to clap, cheer and sing-along to. The story, now updated with more contemporary references, still contains all the vital ingredients. Take a few good-natured characters (an eccentric inventor, his two adoring children and grandpa, a pretty heiress to a sweet-making factory and a kindly old toymaker in a distant land), then mix with a few baddies (an evil child-catcher, a tyrant Baron and a couple of devious spies). Embellish them with a magical flying car, plus an adventure in a mysterious land called Vulgaria, and then finally serve-up with a daring escape and a happy ending. What’s not to like?
Among the performers, Adam Garcia commands both the stage and the eye as Caractacus Potts, with a relaxed easy-going style that completely charmed the audience who took great delight in his every song and dance routine. With a tank full of talent and energy, he maintained the impetus of the show, and displayed some breath-taking athletic dancing – Me Ol’ Bamboo and his cartoon-like routine in Doll on a Music Box remain in the memory. His extensive vocal range was also well-suited to his many songs from the exhilarating Chitty, to the tearful sincerity of Hushabye Mountain. Ellie Nunn provided the romantic interest as the sweet-toothed Truly Scrumptious, but thankfully displaying a toughness more appropriate to today rather than to Edwardian England. It then falls to Liam Fox to play the rather thankless part of the stereotypical ex-army Grandpa, clad in British colonial khaki. Not as thankless a task, however, as the curious introduction of a rather meaningless puppet to represent the Potts’ family dog.
But then, of course, it’s the baddies – it’s always the baddies – who seem to have the best parts and the most fun. In this case, it’s the two Vulgarian spies getting the laughs with their quick-fire patter and double-entendres. Adam Stafford as Boris, and Michael Joseph as Goran, form a great comedy double act with their well-timed movement and dialogue. Their musical number Act English was absolutely superb. Another delightful comedy duo, showing burlesque at its best, was provided by Martin Callaghan and Bibi Jay as the Baron and Baroness. Outrageously camp with both displaying excellent comic timing and technique. Their song and dance routine to Chi-Chi Face was sheer perfection and if there was a gold medal for doing the splits, it should be awarded to Miss Jay.
Finally, among the baddies, there’s the notorious child catcher. And here, we have the novelty of a female child catcher – and why not? A simple stroke of genius. Charlie Brooks plays the evil character, initially dressed all in black, looking not unlike Miss Gulch from The Wizard of Oz. She struck a sinister figure and, of course, came fully equipped with various devices for catching little children – an important task in Vulgaria where the childless Baron had signed the Suppression of Children Act. Whereas in the film, Robert Helpmann’s famous portrayal had an elongated nose to help sniff out the children, in this version, Charlie Brooks is provided with a strange sort of nasal trumpet to help smell the children. All very scary and creepy as indeed was her dark macabre song Kiddy-Widdy-Winkies. Again, a song from the 2002 stage adaptation, and not the original film. Also, in a nice nod to parallel universes, our child catcher first appeared in an earlier scene in a different guise – at a scrapyard buying old cars for crushing – the child catcher turned car catcher.
Keeping faith with the film was the funfair scene where Caractacus tests out his automatic haircutting machine – in the film it was the memorable character actor Arthur Mullard who famously tried the machine and finished up with a bald top – as per Friar Tuck. Here, after seeing the disastrous results of the haircut, Caractacus decides to rebrand his machine as a turkey-plucker and engages a potential customer called … er, Mr Matthews.
All in all, the stage adaptation of Chitty has more comedy and storyline than the original film and has many more song and dance routines, full of exceptionally slick choreography. The show has pace, aided by slick set changes by the ensemble, who are constantly moving wooden boxes on, off and around the stage as the scenes change.
A high-spirited show full of fun, fantasy, comedy and music in a theatre filled with a happy and appreciative audience. A great family night out.
Michelle Hood, May 2024
Photography by Paul Coltas
Mark Aspen 