‘Chitty Chitty Bang Bang’

Press, 25 August 1986, Page 8

‘Chitty Chitty Bang Bang’

“Chitty Chitty Bang Bang,” directed by Brian Brodie for the Christchurch Operatic Society in association with the Rotary Club of Lyttelton, with musical direction by Malcolm Jones, at the Theatre Royal, August 23 to September 6. Running time: 7.30 p.m. to 10.20 p.m. Reviewed by Lindsay Clark. Patrons of the Christchurch Operatic Society, or for that matter the Theatre Royal, are no strangers to colourful and rewarding theatrical events, but the present production, directed with flair by Brian Brodie, will surely be remembered as something rather special.

For a start, the storyline encompasses enough material for at least two dynamic tales. We are given not only an imperative struggle to save Chitty Chitty Bang Bang from the fiery furnace and ultimate compression, but the romance and success story of Caractacus Potts, a whole children’s revolution in Vulgaria, where a satisfyingly wicked pirate baron and his ghastly wife are overthrown after a hair-rais-ing balloon trip, not to mention an underground excursion, a birthday party where things are not as they seem, a ... but it has to be seen for itself. Suffice to say the scale of the tale would be daunting to a less intrepid team, and the task of creating from it an adaptation from film for stage will earn the respect of all who know that dreams do not translate easily. Thus Malcolm Jones’s achievement in the adaptation and musical score for this production must be applauded. From the foot-tapping engagement of the audience a few bars into the overture, i| Mps obvious that the fam9

liar tunes would be well received, and it was the musical contribution which welded neatly together the otherwise overly episodic tale.

Brian Brodie’s direction cleverly orchestrated the many moments of fun and tension with precise timing and characterisation emerging as special strengths, together with his fine eye for large scenes: the factory, the fairground, the birthday party, to single out a few. In these also Dianne Honeybone’s choreography played an important part. Lighting design, set, and costume all sustained the resulting sparkle, though it was the special effects department (Byron Lester, Patrick Nolan, Ray Adams and Malcolm Jones) and Chitty Chitty Bang Bang herself (built by Brian Grace and Bryan Sullivan) who raised appreciative murmurs from a delighted audience. Some amazing contraptions blinked and fizzed about the stage in variously frenzied bursts of vapour, but with her dignified purr — was it a purr or one’s heightened imagination? — the wonderful “four-fendered friend” was undoubtedly one of the stars of the show.

Among the human contenders, the principals performed confidently and with refreshing clarity. Stage microphones were probably necessary but still present a minor distraction. Janice Bateman as Truly Scrumptious brought grace and wit to the standard heroine role. Her “Doll on a Music Box” number was beautifully done. As the engaging Caractacus Potts, inventor, Robert Lee radiated well intentioned zaniness. His relaxed manner

and strong vocal presence soon established him firmly in role.

The children, Louise McKendry and Luther Golledge (alternate performances Sarah and Cameron Parsonson) contributed confident performances, as did Gilbert Wiberg as the delightfully eccentric grandfather. Byron Jones and Faye Phelps as the dastardly Baron Bomburst and his devastating baroness

showed clever comic control, and Patrick Paynter (the toymaker) forged some bright moments from a lesser role. Indeed, the whole company was infused with vital energy and good humour which took the production along at a cracking pace. This was as well, for there was a fair distance to be travelled in the 2labour performance, and the proliferation of short scenes and ever-widening plot-lines (which incidentally do not quite match the indications of the programme synopsis) would have tested the spellweaving talents of a lesser team. As it was, their impact was lost only occasionally, and sadly enough in the very last moments of the show when Truly Scrumptious has the final statement, “Now you’ll have to marry me.” This did not quite achieve the moment it deserved, and with some uncertainty the audience awaited curtain calls to re-establish their involvement and appreciation. Risk-taking, however, must be seen as part of the adventure and experience of theatre, and in this ambitious enterprise it has certainly paid off. The Christchurch Operatic Society and its associate, the Rotary Club of Lyttelton, *nust be congratulated Jon their choice.