Charlie and the Chocolate Factory
Book by David Greig, based on novel by Roald Dahl
Music by Marc Shiman
Directed by Pippa Duffy
Cambridge Operatic Society
Cambridge Corn Exchange
Star rating: 4
It’s a fluid story with a seemingly unlimited shelf life like the best chocolate. There have been adaptations of all sorts since Roald Dahl’s novel published in 1964. This one is a cheerfully updated version of the one I saw based on the Warner Brothers 2005 film at Drury Lane in 2013 with Douglas Hodge as the mysterious Willy Wonka and a year later with Alex Jennings in the same role. It’s timeless in the tradition of Tchaikovsky’s Nutcracker and, yes, they do have something in common. Both have second acts staged in a land of confectionery.
Cambridge Operatic society runs with this skilfully in the vast space of the corn exchange – flat seating in the stalls does not make for great sightlines, and this is the first time in decades I’ve seen an actual cloth curtain swished across by hand. Nonetheless it’s a flamboyant production with all the special effects (including the glass elevator) and glitzy costumes you’d expect and only one or two tiny lighting glitches. It was almost sold out on opening night and the audience, including many children on Easter holiday, was gratifyingly and justifiably exuberant.
Luke Thomas is outstanding as Willy Wonka, the eccentric and charismatic chocolate factory owner. And it’s a huge role. Thomas has a perfectly intonated tenor voice, a magically expressive face and top-notch acting skills. He would grace any stage anywhere although this is a community show so he has a completely different day job. Also splendid in role is Tia Lake as Charlie Bucket’s impoverished, hard working, always kind,widowed mother. She too sings like a seasoned pro and lights up the stage whenever she’s on it.
Of course, at base this is Roald Dahl so all the unpleasant characters come to a sticky (literally) end and all the likeable ones are richly rewarded. And that’s partly what makes it satisfying. It is, though, a streak of narrative genius to devote much of the first act to a series of scenes introducing the four children, who have won golden tickets to visit the factory – all horrible in their different ways and flanked by a parent. It allows different musical styles and plenty of fun. Then in the second act they are eliminated one by one until only Charlie remains. It’s a neat, symmetrical device which never fails.
The children in this show do a fine job. On opening night it was Team Candy which meant Arthur O’Brien as a heartrending Charlie with a nicely modulated boy’s singing voice. Hugo Mitton offers a very convincing performance of gluttonous August Gloop for ever stuffing his chops. As Veruca Salt. Hope Stoneley Gradwell, really runs with the spoilt ballet-loving brat and Charlie Blackmore is strong as the rude, obnoxious, dismissive Mike Teavee.
Best of all, though, is Aeva-Jessica Mensah who is is a stage natural. As the entitled Violet Beauregarde she creates a fine rapport with her father (DeJay – good, and I loved the gold teeth!) and sings with maturity and technical accomplishment of someone twice her age.
Famously the production features Charlie’s four grandparents who have plenty to say but, apart from Grandpa Joe (Leslie Wheeler – good), they never leave their bed. It’s good fun, witty and the stage crew get them on and off slickly
The ensemble, both adult and junior – many rapid costume changes – works hard and supports everyone on stage. The Oompa Loompas always go down well and director Pippa Duffy makes good use of a stage left balcony over the auditorium. The choreogapny (Katy Graham Clare) is colourful and imaginative.
And behind all this is twelve-piece live band, led by Nicholas Sheehan on keys. They are out of sight somewhere off the stage left balcony but they make a magnificent sound and Sheehan supports every singer so that the sound is cohesive.
It runs until Saturday 04 March. Well worth catching
