So what noise does that car make? ‘Chitty Chitty Bang Bang’ has flown into Southampton with its brand new musical production. This is a musical. That might sound like a blazingly obvious statement, but what I mean by that is that ‘Chitty’ is the exact image you see in your head when you think of the word ‘musical’. Not necessarily the car, but the high production values in set, effects, music; the list goes on. It’s textbook. I’m sure that the majority of people will be aware of the story of ‘Chitty’ from Dick Van Dyke’s 1968 film of the same name. If you don’t know the story, you more than definitely have either seen the iconic car or heard the iconic song (yep, the one that gets stuck in your head for days on end). This musical adaptation follows the same story but it feels so much more exciting. Director, Thom Southerland, has nailed bringing this family classic to life – by making it for the whole family but not in a cheesy way.

It could have been very easy to slip into the panto-type vibe with this adaptation. There were still times when it felt panto-esc but that didn’t make it feel cheap or any less impressive. The dialogue is clearly meant for both an adult audience and family audience. It’s littered with innuendos and ‘adult jokes’, and it’s just brilliant. There were actually moments where I was thinking, is this too far for an audience with children? But I don’t think it was. They were on a tightrope with it, but I think that’s what made it so great. Compared to other recent classic movie adaptations, it would have also been extremely easy for them to strip the production value right back to a smaller set, and rely heavily on the use of projections/screens. ‘Chitty’ demonstrated that classic is still the best. Thinking back, I don’t think there were any projections or screens really, just real set pieces and physical effects. You can’t go wrong, and they certainly didn’t.

Seriously impressive, it’s like real magic on stage.

The cast was also what you’d expect from a big musical; grand and extremely energetic. Heading the cast as ‘Caracticus Potts’ was the brilliant Adam Garcia. Dick Van Dyke eat your heart out because I think ‘Caracticus’ now belongs to Adam. The singing was truly scrumptious (yes I went there), and his dance and comedic timing was also fantastic. In fact the whole cast’s comedic timing and liveliness was spot on. The children in the cast also need a special shoutout because they were all incredibly professional and super talented. Having said this however, for me the show was stolen by four cast members in particular. Martin Callaghan and Jenny Gayner as the ‘Baron & Baroness’ were flawless. They were stupidly funny, and the fourth wall breaks and innuendos were amazing. Likewise, Adam Stafford and Michael Joseph as ‘Boris & Goran’ were exactly the same. Funny doesn’t begin to scratch the surface. 

Now for the set. All I can say is thank you and well done. I’m so glad that what we got was real pieces of set and an actual flying car! (Well if you didn’t know that ‘Chitty’ was a flying car by now). I mean just imagine if they’d gotten rid of the car and rather opted for a projection instead… 

Seeing all of Caractacus Potts’ inventions actually as inventions to seeing a small remote controlled version of Chitty or a real child catcher trap – the whole thing was very impressive. The lighting was also fantastic. It matched every scene perfectly, and I always like when the light helps tell the story. This again is what happens here. The attention to detail was great and I think everything to do with the design was perfect. Bravo!

Of course we can’t do a review of a musical about a flying car, without mentioning the proverbial elephant in the room. Yes a full sized ‘Chitty’ actually did both inflate and fly on stage. And yes it was also breathtaking. It’s the moment the whole audience is waiting for, and it doesn’t disappoint. With things like this, I always try and look into how it is being done and I was fooled for a while. When the car eventually did a full 360, that’s when I was blown away. Seriously impressive, it’s like real magic on stage. In the interval, I know myself and a few others were thinking, “is it going to fly out into the audience?” Unfortunately it doesn’t (spoilers again apologies), but that doesn’t take away from just how nuts it is seeing a funny looking car full of people flying on stage.

This is a true feel-good musical that is meant for the whole family.

The music was again what you’d expect from a major musical. By now we know that I love live music, and tonights live orchestra was outstanding. They played all the famous songs that we know and love: ‘Hushabye Mountain’, ‘Me Ol’ Bamboo’, and of course ‘Chitty Chitty Bang Bang’. As well as just playing the songs, the almost played a full score for pretty much all of the dialogue throughout the night as well. I know I’ll be going to sleep for the next few nights with that title song stuck in my head! 

Overall, as of recent, classic film to theatre adaptations have been (dare I say) lacklustre. So understandably, I was a little bit worried coming into this one. I cannot tell you how happy I am to say that I was worried about nothing. To me it just proves the saying, “if it isn’t broke, don’t fix it.” Production was clearly at the top of the priorities list for this show, and you can definitely see that. I do also love how the show didn’t feel dated. It’s based on a story from 1968, that has certain themes that were also okay in 1968. The comedy used to get around this was faultless. ‘Chitty Chitty Bang Bang’ is a true feel-good musical that is meant for the whole family. If you were looking to take a flight with ‘Chitty’, they’re at Mayflower Theatre until May 12th before continuing on their UK Tour. I wish the whole cast, crew, and company the best of luck and success going forward. 

What would you say is the best way to do a book to theatre adaptation? Well I think ‘Tess’ by Ockham’s Razor could be the answer to that question. On offer at New Theatre Royal Portsmouth at the moment is ‘Tess’ by Ockham’s Razor, and all I can really say is wow! This is an adaptation of Thomas Hardy’s classic novel, ‘Tess of the D’Urbervilles’. It’s a story that has already been adapted to the screen, and to be honest I wasn’t quite sure how it would transfer to the stage. I could vision it being performed as a standard play, but could I vision it as a mixture of contemporary circus and theatre? My answer should have absolutely been yes! Alex Harvey and Charlotte Mooney have adapted and directed this masterpiece to perfection. Along with producer Alison King, a fantasy vision was seen – and they have managed to bring that vision to life. 

This show showcases the storytelling ability of dance, circus, and movement; as well as the athleticism and range of talent its performers have. The story is one that still has major relevance in today’s society with its incredibly nuanced evocation of female relationships, sexual desires, consent, privilege, and poverty. In this particular adaptation, it is all told as a flashback through Tess herself as a narrator. She is the only character with dialogue, the rest of the cast (including ‘Memory Tess’) tell their part of the story through the incredibly energetic and powerful nature of circus and body movement. I just love this! It’s such a creative way of showing the power, loss and and endurance of the story – as we see how the performers bodies react with the extreme strength and physicality of circus. It seems like subliminal messaging at its finest almost. 

Just stunning.

There are only seven in the cast but they have to be seven of the most talented performers I have seen. All of them are so strong and powerful, you get hooked on their every movement and emotion. These aren’t just performers, they’re athletes. I can guarantee that you will feel a wide range of emotions whilst watching this show. There were many times I was audibly laughing, and there were times when you could hear a pin drop in the auditorium. Just stunning. Heading the cast was Hanora Kamen as ‘Tess Durbeyfield’, and her narration was spot on. She wasn’t only telling the story, but recalling speech in different accents as the cast was performing the relevant flashback. In fact there were many times when the cast would be performing something different to what Kamen would be narrating, and you would be consuming two different things at once – but it didn’t feel difficult. 

Kamen’s partner in crime was Lila Naruse as ‘Tess Durbeyfield’ but the ‘memory’ version. These two were so good together that you would actually forget that you were watching/listening to two different people. The trio of girls was Lauren Jamieson, Victoria Skillen, and Shannon Kate Platt. The connection that these three share is phenomenal, and their comedic moments were fantastic. ‘Alec D’Urberville’ was played by Joshua Fraser who’s ring routine won’t leave my mind anytime soon; and ‘Angel Clare’ was played by Nat Wittingham who’s performance was beautifully powerful. The strength, commitment, and attention to detail of this cast is fantastic and certainly doesn’t go unnoticed. The standing ovation tonight only proved that – Bravo!  

The set was actually incredibly intricate, whilst also being very stripped back. It was basically just lots of wood, rope, and materials – that when placed together with the dynamic movements from the cast, created a piece of innovative theatre. The cast actually end up building all of the set and there is always so much going on, that it feels like incredibly organised chaos. One thing that sticks in my mind as extremely effective was the way in which they portrayed Tess’ horse, and the way they would walk on the two planks whilst staying in place. It was new, it was fresh, and I loved it! The lighting and projection was also simple but added the perfect amount of ambience or warmth/cold when it needed to. Visually gorgeous.

I still can’t get over how beautiful and impressive the whole thing was.

The music was matched perfectly to the show, but sometimes was very repetitive in all honesty. It was only a soundtrack that was being played, but as a friend rightly said, if it was a live band it probably would’ve taken away from the show because of how much was going on. In fact there were times where the music was too loud which just overloaded the senses. I think what really makes this show is all of the above mixed with the brilliant choreography. Choreographer, Nathan Johnston, cannot be credited enough as without his work, I don’t think the show works. One piece of movement that gets revisited multiple times, forwards and in reverse (if you know you know), is the sequence of ‘Tess’ and ‘Angel’ when they make their way along the trail to the farm. The movement of the set and cast had to be inch perfect, both in timing and spacing, and that’s exactly what it was. Literally mesmerising! 

Overall, ‘Tess’ is an incredibly impressive spectacle. It’s something new and exciting, and I’m interested to see what Ockham’s Razor will produce next. The story was easily followable, and the way in which it’s told is beautifully powerful and physical. Mixing contemporary circus into theatre adaptations should now be a benchmark to hit I think. I still can’t get over how beautiful and impressive the whole thing was. Whatever part of theatre you’re into, I think this is a show that you should definitely see if you’re lucky enough to get the chance. The cast are superb and the production as a whole will be unlike anything you’ve quite seen. ‘Tess’ is touring until June this year before further dates for spring 2025 are announced. I wish everybody involved the best of luck going forward, I know I’m already looking at when I can come and see this again. 

This week at MAST Mayflower Studios is The Everyman Theatre Company’s ‘A Midsummer Night’s Dream’. This is Shakespeare like you’ve never seen it before… and it’s just totally mental. Known as being Shakespeare’s silliest comedy, this retelling of his play is exactly that. Shakespeare is renowned for being long winded, for the use of Old English, and for being quite confusing. This play was two out of those three things. Old English? Yup. Confusing? Definitely. Long winded? Surprisingly no. Director Paul Milton has done a great job at condensing all of these intertwined story lines, whilst keeping the ‘heritage’ of Shakespeare as well as the attention of the audience. 

I’ve got to be honest and say that I didn’t have a clue about the story of this Shakespeare play. It was one that I never learnt about, so hadn’t bothered to read either. So, understandably, I was apprehensive that I wouldn’t understand the story as well as if I had done some research before hand. However I’ve left being able to confidently tell you the basics of this story – so it’s done its job!

They all had me laughing out loud.

The acting is meant to be fun, silly, and slapstick so you know exactly what to expect. As soon as the show started, I kept thinking that these gags may be a bit too silly for me. That was until I also found myself laughing at them a couple of minutes later. As a quick (very basic) synopsis, four Athenians travel to the forest only for chaos and comedy to collide, swapping lovers oh and there’s also a play involved (I’m sorry, I told you it was very basic!).

The cast were brilliant. As I mentioned, when the show first started I thought, oh god this is going to be too slapstick for me, but thanks to their performances they all had me laughing out loud. It was only a small cast, with 10 people all being multi-charactered actors. All of their movements and facial expressions, as well as their timing when performing their lines, made the use of old English so much easier to consume.

Paul Milton’s vision brought to fruition perfectly. Comedic timing was paramount to the success of these physical and spoken gags, and once again they were spot on. Jeremy Stockwell as ‘Puck’ and the clown Tweedy as ‘Bottom’ shared a fantastic bond on stage. A lot of the laughs came from these two – Tweedy’s brilliant slapstick comedy in particular. But I also need to give a quick shout out to Oliver Brooks (‘Lysander/Starvling/Moth’) and Laura Noble (‘Helena/Flute/Mustardseed’). These were the two that I laughed at the most especially in the play within the play at the end (more on this later). Oliver had me in literal tears in his portrayal of the moon. Just amazing! 

The set was actually beautifully crafted. There were only a few flats and it was very simple, but mixed with the coloured lighting it looked great. There’s not much else that can really be said from the set, but keep an eye out for a very realistic looking horse… 

It was also nice to hear an original song in there, showcasing the actors’ skillset yet again. Costumes were surprisingly detailed considering that they were being changed every 5 minutes. As for the LED gowns/dresses – they also fit right in!

This is truly a Shakespeare for everybody.

I’d be lying if I didn’t say that I was almost completely lost during act 1. I could follow along with roughly what was happening, and it was the comedy and silliness that allowed this. Without it, I think I’d still be scratching my head now. By act 2, everything fell into place and clicked. I instantly understood everything that was going on in act 1, and it felt like this huge payoff had come around. The play within the play, ‘Pyramus and Thisbe’, was hands down the highlight of the evening for me however. I was actually crying from laughter at times. If you’re looking for a laugh, look no further. 

To round up, yes this was confusing (temporarily), but it all became clear in the end. Was it fun? Without a doubt! Was it funny? Yes, hilarious. As soon as people see the name ‘William Shakespeare’ I think they panic and instantly get flashbacks back to school. I know I did! But I think what this production of ‘A Midsummer Night’s Dream’ has done is taken that stigma away from it. This is truly a Shakespeare for everybody. The aficionados and the novices. As one of my friends said, it’s basically the pantomime of Shakespeare, and I couldn’t agree more (thanks Steve!). ‘A Midsummer Night’s Dream’ is at MAST Mayflower Studios until Saturday and they then end their tour in Coventry afterwards. I wish all of the cast and crew the best of luck with the rest of their run.