Chitty
Chitty Bang Bang
The Mayflower Theatre,
Review by Emma Shane
© July 2007
The problem with seeing any show second time round, when the first time
round was very good, is how will a different cast measure up? Especially when
the earlier cast includes such extraordinary actresses as Scarlet Strallen
and Louise Gold. I was particularly concerned about the role of the
Baroness (that had been terrific – if somewhat extraordinary when I saw it
before). Fortunately this touring production does have the benefit of including
several performers who had been in the show in London; While some of the
others, are pretty fine actors in their own right; who have also played major
roles in the West End (all be it in other shows); And Louise Plowright
did a jolly good job in Follies. So was there a chance
this cast would pull it off? And just how would it compare to the show at The
London Palladium (prior to the opening of the Broadway production -obviously some changes were subsequently
made to the
The show starts with Greg Arrowsmith conducting the overture (he
had conducted often at The Palladium). Then into the Prologue.
Although this had been somewhat reduced from the Opening of the earlier
production, I was pleased to see some of it remained, and particularly that the
Baron and Baroness were still shown at the race track watching and reacting to
the race.
At the scrapyard, I think the
two children were played by Fraser Jenkins and Katie Reynolds. They
seem to be ok. Truly’s entrance on a motor bicycle was much as before, even if Marissa
Dunlop doesn’t quite have Scarlet Strallen’s stage presence. She
seems to be nevertheless perfectly satisfactory, and quite engaging and
convincing in the role. Back at the windmill, and Craig McLachlan’s
Caractacus is initially a little stiff, but he very soon settles into the role,
with a convincing, touching gentle You Two. His accent is not
exactly English, but this doesn’t seem to matter too much. The children back
him well, but it is his song. Then Grandpa joins them for the meal, and
discovers the Toot Sweet, whereupon Tony Adams sings Them
Three just as well as he did at The Palladium three years
ago.
On the Lord Scrumptious’s
factory. Leo Bidwell plays Phillips as a younger man than Graham
Hoadley did it, and with less of the Dickensian element, nevertheless he is
still very funny. Duncan Smith gives an entirely satisfactory portrayal
of Lord Scrumptious. I couldn’t help noticing that Marissa Dunlop didn’t
quite have Scarlet Strallen’s panache when pleading with Lord
Scrumptious; but then Scarlet Strallen is a Langford. Besides, Marissa
Dunlop isn’t bad in the role, by any means. It’s soon onto the number Toot
Sweets. Here I really noticed how well the Ensemble danced. Quite
possibly better I think than at The Palladium three years ago. And yes,
even though this is a provincial theatre, they still included a bunch of
performing dogs.
As Boris and Goran, Jaymez
Denning and Cornelius Clarke come to the fore with Act English.
They make a great double act, something of an improvement on Richard Long
and Christopher Ryan; although accent wise I noticed that the song
didn’t have any contrast between the first and final verses, I thought perhaps
it should have done, but that’s a very minor point.
Back at the windmill,
Caractacus sings the children to sleep with
Come To The Funfair I hadn’t noticed
before included the two children, Jeremy And Jemima being moved from their beds
on flying wires, around the stage at the start of this number. I also noticed
that the costumes have been altered, and I didn’t like the change in costume.
Previously the inhabitants of the funfair had been dressed in an old fashioned
Victorian/Edwardian circus or Wild West Show type costume, something very
reminiscent of Annie Get Your Gun. This fitted in with both the
era in which the musical is supposed to be set, and everyone else’s costumes in
the show. The costumes now look like some more modern circus, somewhere from
the 1960s onwards; which gives it a rather pantomime look. However the ensemble
did dance extremely well, which went some way towards making up for the
outlandish costumes. I was pleased to notice that the small bunch of ensemble
playing visitors to the fun fair included several children (I don’t remember
them at The Palladium). Steven Judkins and Hilary Lang, as
Sid and Violet respectively, play their little parts convincingly. Caractcus
flees to join in Me Ol Bamboo. I really missed Gary Wilmot’s
showmanship in this number. Craig McLachlan doesn’t seem to dance as
well as Gary Wilmot did, and he looks quite uncomfortable trying to
dance this number. However he succeeds in making his discomfort part of his
character, so it comes across alright, I just preferred Gary Wilmot’s
way of doing the number. The scene ends with the Turkey Farmer, played by Gary
Williams catching up with him, to buy the hair-cutting machine; and the
addition of a little joke, the farmer is called “Mr Matthews”, of course
all the grown-ups in the audience immediately laughed.
With Caractacus working on the car, Tony Adams’s Grandpa leads
the two children with Posh, once again Tony Adams brings
all his vast experience as a performer (in a variety of theatres, including The
Palladium) to the number, and proves he is still a good song-and-dance man.
However, I was glad his reprise of Hushaby Mountain had been cut.
Time for Chitty itself to put
in an appearance. Instead of coming up through the floor, the car is positioned
towards the back of the stage, obviously covered by a tent cloth. On a given
signal that is whisked away to reveal Chitty. The two children are very much a
double act, saying “Please” to the car, which like at The Palladium
turns round on a turntable. Truly has arrived with her basket, so they launch
into the title song, Chitty Chitty Bang Bang which is just as
effective as before. Then to the beach, and the song Truly Scrumptious.
I did rather miss the delicious irony with which Scarlet Strallen
delivered the line about her name not being as outlandish as her sisters.
However Marissa acts her part perfectly well. Allthough this isn’t as big a
theatre, Chitty Chitty Bang Bang (Nautical Reprise) seemed to be
just as good as well, it’s rather fun.
The Act 1 scene in Vulgaria
brings some much more noticeable changes. While some of these may have been improvements,
some I’m not so sure about. The Baron and Baroness are in council. Judging by
the photographs in the programme, different casts have slightly different
costumes, and this time is no exception. I couldn’t tell whether any wigs were
worn, or if Louise Plowright had her own blond hair done up in
earphones? The scene opens with the Baron pointing at a map. Meanwhile The
Baroness is sitting nearby polishing a gun, which accidentally goes off, and a
Vulgarian aide falls to the ground. The Baroness’s reaction is very much one of
“oh well these things happen”. I’m sure they didn’t have that bit with
the gun when I saw the show before. Nevertheless that was a good addition, not
least because it gave Louise Plowright an opportunity for a delightful
moment of wickedness, bringing to the part all her experience of playing
magnificently wicked villainesses in pantomime. She continues with her regal
villainess manner (very like the Wicked Queen in Snow White in
Of course the act concludes
first with The Captain, played rather well by Duncan Smith, kidnapping
Grandpa. And then, Caractacus, Truly and the children going in pursuit in Chitty,
with Chitty taking to the air. This was technically very impressive. The
perfect end to the first act.
Act 1 had been
excellent, in some places different to when I had seen the show at The
Palladium, but generally comparable; with everyone making their parts their
own. However, I couldn’t help feeling that as with Follies,
Louise at least, would face a much tougher challenge in Act 2, how would
she fair?
Act Two starts with an Entr-acte, the curtain rises on Vulgaria, with
Grandpa being “welcomed” with the Vulgarian National Anthem. This
had fewer flower hoops than previously, some of the chorus girls held flower
sprays instead. Meanwhile the Baron has some business about having his Teddy
Bear saluted. I don’t remember that being in there before. This time The
Baroness enters halfway through the scene, quite majestically. Louise
Plowright can act majestic with the best of them. Tony Adams plays
his part just as well as he did before. Although I think a few lines had been
cut; because I didn’t notice, and rather missed, his enquiry about “Who
makes the laws?” that had been in the earlier version (and it’s
corresponding response “She does”). Thankfully they did retain The
Baroness’s parting shot of “And mind your language”. I love the shear
vocal power with which Louise Plowright delivers that line.
Interestingly, the usually loud, Louise Gold had taken a completely
different approach with that line, saying it very sweetly. I’m sure that both Gold
and Plowright could easily have delivered that line in each other’s styles,
they just choose to do it in whatever way they did, and in both instances made
it work well. After all they are both good at delivering witty one-liners.
However good a line is, it’s only as good as the actor delivering it. But
Plowright and Gold are two of the best.
The Roses Of Success performed by Tony
Adams, along with the inventors played by Jaymez Denning, Cornelius
Clarke, Leo Bidwell, Steven Judkins, Gareth Williams,
and, Martin Neeley, was, as far as I can remember, much like before (and
in fact I saw Tony Adams and Jaymez Denning in it before). It
certainly gives Tony Adams a good opportunity to display his talents.
The script got a bit tightened up, which made it less clear, as to quite what
happens to the Baronial Car, or how Grandpa ends up thrown in jail. Sufficient
to say Caractcus, Truly, and the Children arrive in a deserted town square; The
Toymaker, played by Richard Owens rushes on, to hide the children. I couldn’t
help noticing that he alone of all the company didn’t use the standard
Vulgarian accent. In fact his accent sounded more akin to that great
voice-artiste Bernard Cribbins doing a Hungarian accent! That is not a
criticism, sometimes actors in this show have their own take on the matter of
accents and how that fits in with the way they want to play their character.
(After all Louise Gold did her own thing accent-wise at The Palladium).
I thought Freddy Lees had been good at establishing his character quickly,
but Richard Owens seems even better.
Alvin Stardust sings his big
number Kiddy Widdy Winkies with a more menacing voice than Lionel
Blair. Though of course he does not dance with the same grace; the
choreography looks like it has been somewhat simplified. However, this is just
another way of doing the part, and both are good. It might be noted that Alvin
Stardust has played the role at The Palladium too. Some very slick
scene shifting, and cast movements depicts the children’s capture. Then down
into the cellars for the childrens’ ensemble’s big moment, Teamwork.
This was done well, though it slightly lacked the power of shear numbers (there
being slightly fewer cast than at The Palladium). But this is a
provincial tour, so the size of the number fitted in with the size of the
theatre; and they all sang with enthusiasm.
So far so good. Now it’s up to Louise Plowright and David
Henry, facing the challenge of Chu Chi Face. I’d actually
been a bit concerned about how Louise Plowright would fair in this number,
because when Louise Gold and Christopher Biggins had done it,
Gold brought her Arts Educational training to bear on the role, making
it something of a dancing tour de force for The Baroness, and completely
overshadowing The Baron. Costume wise the current pair are dressed very
similarly to their 2004 Palladium counterparts. The Baroness being in basque
and suspenders, with an untied red dressing-gown with black feathers. The
costumes may have been the same, but the performance certainly wasn’t. Louise
Plowright and David Henry do it very much their own way. For a start
it is much more of a team effort, and they concentrate on making it silly, but
they sing it both musically and lyrically with greater clarity. Even though
Gold’s diction had been by no means bad at The Palladium, Plowright does
have the edge on the singing of this number. When Gold and Biggins did it,
Biggins was very much in the background, while Gold couldn’t help but be rather
graceful. With Plowirght and Henry its more a combined effort, and they
emphasis the number’s vulgarity; with Plowright making a comic virtue out of
the fact that she is not so much of a dancer (well not in the way that Gold
is). Though of course she can dance, and not for nothing did she spend five
years singing and dancing her way through such classics as Rich Man’s World in Mamma
Mia; Of course being the fine actress that she is, she can do a lot by
acting her way through the number (a strength incidentally that she shares with
her 2004 counterpart). Louise Gold & Christopher Biggins may
have done the number as showing off Arts Ed schooled Ms Gold. But
perhaps Louise Plowirght and David Henry’s take on the number is
more in keeping with the original, i.e. the way its actually meant to be done. In
the end each lady playing the Baroness has done the number in the way that best
suits her abilities.
Chu Chi Face concludes, as at The
Palladium, with the pair going behind their respective screens to finish
getting dressed, with the help of assistants. I noticed when I saw it at The
Palladium, The Baroness had a line along the lines of “What is she doing
the stupid girl”, referring to the assistant helping her into her dress.
Here the assistant was male, and the line was not included. I still wonder whether
that line might have been an adlib in the first place. For the different casts
of Chitty, The Baroness’s dress for the samba number has varied. The
front skirt being longer or shorter. (with the skirt always remaining long at
the back) When Louise Gold played the role, the front skirt was
particularly short, almost to her knees, showing off her legs. By contrast Louise
Plowright is wearing a dress where the front skirt comes down almost to her
ankles. I wonder what dictates the costume design, (from the pictures in the
programme it seems to be altered each time someone takes over the role).
Another change was the absence of the maracas that had been brought out at this
point three years ago. I think it doesn’t matter either way whether they are
included.
Well Chu Chi Face
can be done comically, and made to work, but what about The Bombie Samba.
Given how Louise Gold had been such a credit to her Arts Ed
training, dominating even the chorus with her dancing in this number, I was
concerned that Louise Plowright might have problems pulling off this
piece. The delightful surprise is just how well Ms Plowright does it. Yes she
Does it! She’s terrific! This vibrant performer really looks like she’s
enjoying the number. And when Louise Plowright does a number she enjoys
the supertrouper simply sparkles; lighting up the stage with her
Doll On A Music Box/Truly Scrumptious (reprise) emphasises one of
the other chief differences between the performances. At The Palladium
during this number Scarlet Strallen had outshone everyone else, even Louise
Gold! (Which was quite a feat). Though Marissa Dunlop sings well,
she does not command the stage in the same way. Thus we actually notice what
else is going on in the scene, including Craig McLachan’s counterpoint;
We’re particularly aware of The Baron and Baroness’s reactions. Admittedly,
without dominating, Louise Plowright has a strong stage presence. She
also has a look of amusement on her face, very similar to that of her Donna The Dynamo watching Tanya and
Rosie dig the Dancing Queen.
Obviously with a smaller stage
the Fight scene was going to be different. I rather missed The
Palladium’s useful apron, and, noticed quite a few differences with the
choreography, especially concerning The Baroness (who being rather tall and
having a strong presence in both cases is very noticeable). Back in 2004, Louise
Gold seemed to rely largely on her big strong hands alone. I don’t remember
that battle-axe using any props. However in this production one of the Sewer
Kids keeps hitting Louise Plowright’s Baroness a prop which looks like a
cross between a broom and a lacrosse stick, until she manages to take it off
them and use it to defend herself; eventually someone else succeeds in wresting
it from her, giving her a few slaps on the behind with it. I wasn’t quite sure what
happened to The Baron (as with 2004 it was difficult to look everywhere at
once). But I certainly noticed The Baroness getting dragged toward, and being
pushed into the cake (from which the sewer kids had emerged). As the drapes
came down someone screamed, I couldn’t be sure, but it might have been Louise
Plowright’s Baroness. If so, it was shades of her 2004 counterpart (and
onetime fellow dynamo)’s current exit as Ms Andrew in Mary Poppins
(dragged through a trap door screaming).
Us Two/Chitty Prayer was a joint effort
from the two children, Caractucus and Truly enter, having been chased down a
dead end by “That creature”, The Childcatcher, who promptly enters
disguised as Grandpa. Grandpa himself flies to the rescue aboard Chitty (who has
just rescued him). Tony Adams carries this part of the scene with the
matter of fact “No I am me”.
Various Vulgarians enter, and manage to get The Childcatcher into a net
and slung up on a rope. Someone (possibly The Captain) produces a piece of
paper and says that the law banning children has now been repealed. I was a bit
disappointed that this had been done off-stage, because with the indelibly
glorious memory of how Christopher Biggins and Louise Gold had
handled that scene of defeat, I would have liked to have seen David Henry
and Louise Plowright act it. I’m sure they would have been just as
terrific.
While The Toymaker and The
Company reprise Teamwork, the drapes rise, to give us The Square,
and with the production of a few suitcases The Baron and Baroness are sent into
exile, with The Baroness berating her husband. Louise Plowright is just
as fierce and nasty as her 2004 counterpart. Yet David Henry’s Baron
seems a stronger character, and rather more philosophical, “Well we may have
lost the kingdom, but we’ve still got each other”. The Sewer kids are now
clearly reunited with their respective families (something I hadn’t noticed
before), as The Toymaker (who is related to Toby) says “We’re back together
again”. So their job done Caractacus, Truly, Grandpa, Jeremy and Jemima
climb aboard Chitty and Chitty Flies Home. In front of the drapes
we hear a loud off-stage voice vowing revenge, was it Louise or was it
In fact what of the cast. Well the main ensemble, consisting of: Daniel
Boyle, Chantelle Carey, Nick Crossley, Katie-Jane
Derbyshire, Stuart King, Hilary Lang, Lee Marriner, Carl
Patrick Morris, Kimberley Payne, Dane Quixall, Lisa Richie,
Alexa-Jane Robinson, Sebastian Rose, Daniel Sharpe, Frankie
Sibthorp, and, Grace Warner all do a good job, and I thought they
danced rather well, better in fact than their 2004 Palladium counterparts. Some
of their costumes weren’t quite a good, though. Meanwhile out of the children’s
ensemble; I wasn’t sure which of the three possible ones it was, were they: Niamh
Coombes, Brad Harey, Helen Jenkins, Rebecca Peppiatt, Chloe
Proffitt, Toby Prynne, Francesca Reed, Ben Rossiter, Hannah
Scott, Jordan Vince, and, Cameron Wishart; or: Jordan
Bosher, Callum Cook, Lauren Hinsley, Jake Howlett, Chloe
Jones, Courtney Layton, Eddie Manning, Katy Routlege, Megan
Spiers, Zac Watts, and, Ella Williams; or: Daniel John Eagle,
Charlie Ellison, Caroline Elphick, Natalie Ertl, Annabelle
Goode, Jordan Hull, Oliver Slee, Faith Smales, Harry
Stykes, Marie Ray Trotter, and, Bethany Tyler. But whichever
team it was they did a good job, and if somewhat lacking the size of ensemble
at The Palladium, made up for it with enthusiasm. The whole lot and the
orchestra is under the musical direction of Greg Arrowsmith, who has
been with the show since The Palladium, so naturally that is up to
standard. The radio miking too is pretty satisfactory, not too noticeable. The
Car of course is the star of the show. Having been touring for sometime perhaps
the automation crew know their job. Anyway, tonight it worked just fine,
exactly as it is supposed to. Here in Southampton it flies around the stage,
looking quite magnificent, but not into the audience as it did at The
Palladium, well this is a smaller theatre. At lot of the audience were very
impressed by it. It is quite spectacular, and it worked. However, I was
concentrating more on the performances of the actors.
As for the principals, well: I
had actually seen Tony Adams at The Palladium. And he was just as
good as I remembered. He brings a wealth of experience as a song-and-dance man
to his role, and engages with the audience. Alvin Stardust had also
played The Childcatcher at The Palladium, though I saw Lionel Blair.
The two performances are quite different, because Blair is primarily a dancer,
whereas Stardust focuses on his singing. Nevertheless both are equally
effective, just different. A theme that would come up time and time again
comparing these two casts.
I think (from their pictures
in the programme) that Jeremy and Jemima were played by Fraser Jenkins and
Katie Reynolds. I didn’t think Katie Reynolds quite as memorable as Isabel
Wroe-Wright. But then it was obvious that Isabel Wroe-Wright may
well be a notable actress in the making. Generally the two children were good,
and well matched, they were very much a pair, which as they are supposed to be
playing twins is no bad thing. They are one of the show’s three double acts.
Another being the two spies Boris and Goran. While Richard Long and Christopher
Ryan had been good-enough Jaymez Denning and Cornelius Clarke
do it better. They make a good double act, much in the style of James Whitmore
and Keenan Wynn. Well I think they’d make wonderful Kiss Me Kate
gangsters. Similarly good though Freddy Lees had been, I was just that
bit more impressed with Richard Owen’s Toymaker, and found his
alternative accent interesting. If there is any one human principal in this
show - well we all know there car’s the star – then it has to be Caractacus. Craig
McLachlan does a good job. His Australian accent doesn’t quite fit the
character of a British inventor. But somehow this didn’t seem to matter too
much. I don’t think he dances as well as Gary Wilmot did. However, he
successfully incorporates any weaknesses in his performance into his character.
That too is a running theme in this production. It’s such a silly musical, the
actors have the freedom to make their weaknesses part of their characters, and
it doesn’t matter. He has the advantage, over Gary Wilmot, of not being
overshadowed by his Truly. It has to be said that as Truly Scrumptious Marissa
Dunlop does not have Scarlet Strallen’s stage presence. However, in
a way by having less presence she is actually more convincing as the character.
After all, is Truly really meant to dominate the show, and overshadow
Caractacus, as much as Scarlet did? (It is perhaps a similar thing to comparing
Julie Atherton and Amanda Salmon as Sophie in Mamma Mia.
Julie was the more likeable but Amanda was more convincing as the character
itself). This is yet another running theme to this production, some of the
performances while quite different to their 2004 Palladium counterparts might
in fact be closer to the way the roles are meant to be played, if indeed there
is a set way of playing these roles, which there isn’t.
All three running themes very
much come together in the roles of Baron and Baroness Bomeburst. David Henry
is as worthy follower to Christopher Biggins. In many ways he’s actually
an improvement, as I get the impression that he takes the part more seriously;
bringing a seriousness to the role, whereas Biggins played the character as
more of a buffoon. David Henry certainly makes more of an impact that
Biggins did, I couldn’t quite work out whether that was the result of the
actors’ own performance or that of the co-stars they were paired up with. David
Henry really makes a great team with Louise Plowright, she’s always
at her best when she’s got a sparring partner to bounce off, and he provides
her with that foil. He had done a decent job in several small roles at The
Palladium in 2004, tonight he proves well deserving of his promotion to a
major role. The Baron and Baroness’s relationship comes across differently.
When Gold and Biggins did it the Baroness came across as rather a power-mad
despot, who might have married the Baron for status or power; and was a power
behind the throne. Whereas Louise Plowright and David Henry present
the pair as having a more equal relationship, the power in the kingdom being
shared between them. This difference is only in part due to the staging. Much
of it comes from the performers themselves.
Best of all it’s a real treat to see supertrouper Louise Plowright
as The Baroness. After the sadness of watching her stuck in the grime of a not-very-good musical in
In the last seven years, Louise
Plowright and Louise Gold seem to be developing a tendency to follow
each other into roles. This is the third role they’ve both done! First, in 2000
Gold followed Plowright by taking over Tanya in Mamma Mia (- Gold
claimed to have “improved” that part, which Plowright herself
originated). Meanwhile in the same show Plowright proved herself every inch a
Leading Lady (promoted, by taking over Siobahn McCarthy’s role of
Donna). In 2002 Gold played Phyllis in a big revival of Follies
(complete with the number Lucy And Jesse), in 2006 Plowright made
that role her own in a regional revival. Then in 2004 Gold took-over Baroness
Bomeburst in Chitty Chitty Bang Bang and played it in her own
peculiar way, and now in 2007, Plowright too has now scored her own triumph on
that role. Given her extraordinary abilities to make a part so absolutely hers,
no matter who has done it before her, I think someone should consider trying Louise
Plowright in the triple-role that Louise Gold originated in
Overall, how does Chitty Chitty Bang Bang compare to when I saw
it at The London Palladium in 2004. Well generally it does. The
directors, be it Adrian Noble with Jo Davis and or Edward
Goggin with Catie Marie Entwhistle, or possibly the choreographers Gillian
Lynne and Frank Thompson, appear to have been tinkering with the
staging. Similarly the book has also been tinkered with, whether that was by
the directors or the writers
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Off Site Links:
To read my review of Chitty
Chitty Bang Bang at The London Palladium in 2004, please click here.
Chitty Chitty
Bang Bang’s Official Site: http://www.chittythemusical.co.uk/frame.htm
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