Chitty Chitty Bang Bang

Chitty Chitty Bang Bang
Music & Lyrics: Richard & Robert Sherman. Book: Jeremy Sams & Ray Roderick. Babirra Music Theatre. Whitehorse Centre, Nunawading (Vic). June 3 – 17, 2017.

Babirra have outdone themselves with this enthralling production of Chitty Chitty Bang Bang. This is a well-rehearsed, highly polished production and will entertain any demographic.  Based on the 1968 film of the same name, the stage version of Chitty Chitty Bang Bang is an ambitious undertaking. The logistical challenges involved with the set, complex musical numbers, a huge range of different costumes, a driving, floating, flying car and the requirement of performers who can do it all, director Alan Burrows and his production team have succeeded in creating a special and unforgettable piece of theatre.

The show relies heavily on the maintenance of its rhythm and pace, and David Dare’s intelligent set design plays an immediate and major role in ensuring the seamless transition from scene to scene.  A multimedia backdrop and clever lighting from Deryk Hartwick allow the audience to be quickly transported to and from various locations - each as engrossing as the next.

Chloe Thomas has created costumes for the cast which are not only dramaturgically accurate (a significant task in itself), but provide them with the best possible opportunity for bringing their characters to life. This production had a consistent warmth to it, and Thomas’ detailed costuming, coupled with the set and lighting, were contributing factors to this.  

Marcello Lo Ricco’s sound design was excellent, and managed to accentuate the tension and mood of many scenes.

The acting, singing and dancing in this production were outstanding. Tony Burge plays Caractacus Potts, the likeable widower and father of Jeremy and Jemma Potts. This was a well-developed, thoughtful and overall phenomenal performance carried by Burge’s physicality, warm vocal timbre and believable expressive skills. There is an undeniable chemistry between Burge’s Caractacus Potts and the characters he interacts with.

Opposite Burge is Michelle Eddington, who presented a loving and loveable Truly Scrumptious. Eddington has a terrific and resonant voice; she sings clearly and without tension. Some particular highlights were her duet with Caractacus in “Doll on a Music Box” and a moving rendition of “Lovely Lonely Man”. 
Lucy Sonnemann and Thomas Waterworth are Caractacus Potts’ children, Jemima and Jeremy. This was a mature performance from these two young actors, and they did not miss a beat.  Each of their trios and quartets were enjoyable, including their interactions with David McLean, whose portrayal of the bumbling Grandpa Potts prompted chuckling and smiles at multiple points in the evening.

Phil Lambert and Nicole Kapiniaris were the uproariously funny Baron and Baroness of Vulgaria, and caused recurring eruptions of laughter throughout the auditorium. The depth of these two performers’ ability, was further illustrated by an almost unrecognisable transition into their juxtaposing double roles of Lord Scrumptious and Miss Phillips.  Equally, Cody Baldwin and Colin Moley provided intricate and amusing performances as the farcical Vulgarian spies Boris and Goran.

There were a number of impressive supporting characters in this production, including a solid performance from Nick Rouse as the tentative, but helpful, Toymaker.  Of particular note, however, was Anthony Julian’s nightmarish Child Catcher, whose disturbing portrayal lived up to the high expectations set by Helpmann’s original interpretation in the 1968 film.

The ensemble are to be very highly commended.  At no point did they drop character, and their interactions with the leads and one another were authentic and appropriate, which only added to the overall impact of this production.  
Di Crough had the enormous task of choreographing this piece and her hard work has paid tremendous dividends. The dancing and movement of each character was consistently interesting to watch.  Crough’s dance troupe were a well-oiled machine, and thrilled the audience with a range of contrasting styles. There were many notable numbers, with “Me ol’ Bamboo” and “The Bombie Samba” perhaps best exemplifying the diverse capabilities of Di Crough’s choreography and the high skill levels of her dancers.

Ben Hudson headed up the musical direction and left no stone unturned, with outstanding attention to detail.  The diction from each performer was precise and the singers could be clearly understood by the audience.  Hudson has worked hard to ensure perfection from his ensemble. This was evident in the discernible change in accent between early chorus numbers like the “Prologue”, which had a distinctly British sound to it, and the contrasting Germanic accent required for a convincing “Vulgarian National Anthem”.  His orchestra and conducting were polished, as always.

Director Alan Burrows completed this production team trifecta and manifested some unforgettable performances from his cast. Each aspect of this production worked with incredible cohesion, and the attention to detail across the board is a credit to Burrows and his team's willingness to go the extra mile.

Babirra’s Chitty Chitty Bang Bang is an absolutely, seriously, truly memorable theatregoing experience; raucously funny and full of heart, this production is not to be missed!

James Young

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