Jack Costello and Douglas Hodge (centre) in Roald Dahl’s Charlie and the Chocolate Factory. Picture: Helen Maybanks
Roald Dahl’s Charlie and the Chocolate Factory, Theatre Royal Drury Lane, London. Booking until 31st May, 2014.
On many different levels much is expected of Sam Mendes’ production of Charlie and the Chocolate Factory. On one level, Roald Dahl’s story of the mysterious confectioner and his quest for a successor is a much loved piece of British culture, not least because of the wonderful 1971 movie musical version starring Gene Wilder in the title role with songs by Leslie Bricusse and Anthony Newley. To many people this movie is the original story, so much so that Tim Burton’s eminently superior 2005 movie version featuring Johnny Depp is oft maligned in comparison.
On another level, literally the week before its opening two major musicals in the West End had announced their imminent closure, namely Top Hat and A Chorus Line. With theatreland already in a parlous state thanks to an ongoing recession, hopes are high that Charlie and the Chocolate Factory will restore confidence in the great British musical and be a big enough draw to ensure some healthy box office receipts for at least the next 12 months.
With so much riding on expectation, Mendes’ job was never going to be easy but the renowned Skyfall director has pulled out all the stops to produce a spectacular musical in the old-school style that ticks all the boxes and still manages a few surprises along the way. Together with writers David Greig, Marc Shaiman and Scott Wittman and designer Mark Thompson, Mendes has created a gloriously theatrical piece filled with colour, laughter and genuine heart.
Thompson’s designs pay homage to Quentin Blake’s original illustrations, and to a certain extent both movies, and yet the whole appears wonderfully individual. Traditional theatrical effects and puppetry are seamlessly blended with digital projection to create exciting chase sequences and the ominous shadow of the eponymous chocolate factory. Shaiman and Wittman’s score is a lively blend of ballads and uproarious showstoppers veering from the enchanting duet ‘If Your Mother Was Here’ from Jack Shalloo and Alex Clatworthy as Mr and Mrs Bucket to ‘The Amazing Tale of Mr Willy Wonka’ – a chance for Charlie’s grandparents, led by musical theatre veteran Nigel Planer as Grandpa Joe, to bring the house down without actually getting out of their bed.
Easily the most satisfying numbers and indeed performances in this show belong to the children. If this is the state of talent available in the UK at the moment, then Britain’s place on the world stage is quite secure. There are currently three or four children playing each of the main roles alternately and while everyone may think they know the story, there are some interesting touches added to make the narrative slightly more contemporary and add depth to the characterisation.
Violet Beauregarde, here played by Adrianna Bertola , has become a real California princess or rather a Double Bubble Duchess, given a funky make-over and her own entourage. Mike Teavee too (Jay Heyman) is now addicted to violent computer games rather than simply television, and his mother, played beautifully by Iris Roberts, has turned to drink to deal with her son’s anti-social behaviour. Ultimately the evening belongs to Charlie Bucket and Jack Costello’s performance in the title role is an utterly charming mix of self-confidence and childlike wonder.
Naturally the focus in Act II is Douglas Hodge’s take on Willy Wonka. It’s a difficult role to pull off dramatically and Hodge is not helped with his opening number ‘It Must Be Believed to Be Seen’, being so different in style and tone to the rest of the score. Once we are in the factory and the magic truly begins, we are in Wonka’s territory and Hodge appears to really settle into the role, aided by a chorus of wonderful Oompa-Loompas who get their own round of applause form the moment they appear on stage.
One moment of concern in an otherwise exemplary production is the inclusion of ‘Pure Imagination’ as the 11 o’clock number. The song by Leslie Bricusse and Anthony Newley is a British standard, written for the original movie, but the authors don’t appear to be credited anywhere. Whatever the deal, even though Shaiman and Wittman have written some great numbers, it’s this one people are humming as they leave the theatre.
Paul Vale
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