Charlie and the Chocolate Factory - Spoiler Free Review
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Everybody knows Roald Dahl’s Charlie and the Chocolate Factory. In recent years, Adelaide theatre groups have harnessed their imaginations and produced it for the stage and their local audiences. The latest to do so is Zest Theatre Group with mother-daughter director duo Natalie and Aria Stevenson. Together, they have created a truly magical experience for all ages to enjoy.
Vocal Coach Susie Lush has brought out the vocal confidence in the cast: principals and ensemble inclusive, to give their optimal performance despite not having the elevated feel of a live band. Leila Britton’s choreography is on pointe, crisp and full of energy! This musical has many movement styles inspired by the various characters, and each one is simply brilliant to witness – from Russian ballet to the Queen of Pop, to German-inspired dancing! It’s hard to believe this is Britton’s first musical she has choreographed.
Opening the production with a very strong The Candy Man, Joshua Coldwell as Willy Wonka, has become one of the best storytellers I’ve witnessed in recent times in both song and word. Coldwell’s charisma oozes through his character choices, reactions and interactions. His voice is chocolatey smooth and in tune with the harmonies around him. He is the perfect Willy Wonka Victor Harbor could ask for, holding the undivided attention of the audience throughout.
11-year-old Robert Walter takes Charlie Bucket's naivety and imaginative ideas and makes a character that has the audience rooting him on the entire show. This musical is a huge endeavour for young children to undertake, and Walter leading them is no small feat, yet he exceeds all expectations in his characterisation and his singing ability.
Leila Hollingworth personifies the beautiful role of Mrs Bucket and respects the character with sincerity and self-control in her behaviours. If Your Father Were Here is always a highlight for the actress portraying this character, and Hollingworth gave the song her all and does it justice.
The Bucket Grandparents (John Hogg as Joe, Heather Riley as Josephine, Sarah Tymko as George and Melissa Rumbelow as Georgina) are collectively sound and work well off each character’s quirks. Hogg as Grandpa Joe does well as Charlie’s guardian in Act Two, but it feels there is more character while he is in bed in Act One (potentially due to his injury). Shout out to Tymko doubling as Mrs Green – a character that provides impeccable comedic timing and is very clear in the dialogue spoken and the timing delivered, to understand and digest the jokes made for the audience.
The first Golden ticket winner is Augustus Gloop, portrayed very well by Alice Riggs, and accompanied brilliantly by Rachel Coghlan as Mrs Gloop. Together, they become the German dynamic duo with beautiful voices and dance capabilities. Their song More of Him to Love is a fun number, not only displaying Riggs’ and Coghlan’s abilities, but also the first time we catch a glimpse of the dance troupe within the ensemble.
Tia Stevenson (Violet Beauregarde) and Lucas Irvin (Mr Beauregarde) make a strong entrance for The Queen of Pop – one of the highlights in Act One. Stevenson’s characterisation was one of the strongest in the supporting roles throughout the entire production, and she handles herself well when there are suspected technical difficulties in her final scene. There is some difficulty in hearing Irvin in Act Two, particularly when he is talking to Wonka in Reception, but his character choices and reactions are fun to watch.
Stars of the supporting cast are Eliza Altamura as Veruca Salt and Daniel Cooper as Mr Salt. As equally strong as Stevenson’s entrance is Altamura’s ballet skill and technique, which the audience is privileged to witness multiple times throughout the musical. Veruca’s Nutcracker piece is a highlight in Act Two. Additionally, it is a skill to make small choices to stay present and in character when a scene isn’t about you, and to catch sight of the miniature character choices Cooper makes is brilliant to discover.
The last of the families is Mike Teevee and his mother, Mrs Teevee, respectively portrayed by Riley Hubbard and Yasha Button. It was an anti-climax when both Hubbard and Button’s microphones weren’t working in Act One for their song, That Little Man of Mine. Thankfully these problems were fixed during the intermission, and we were able to hear both characters in Act Two, and didn’t miss Button’s vocal work in the Reprise, or equally, Mike’s abhorrent behaviour.
Although we only meet them in Act One, Will Gavin and Kaitlyn Turner are quirky as TV reporters Jerry Jubilee and Cherry Sundae. Their comical flavours and energy in each of their broadcasts kept the energy flowing.
Principal and supporting cast aside, sisters Georgia (7) and Emelia (9) Walter steal every ensemble scene they are in, having perfected the choreography given to them by Britton, and developed great characters, understanding each of their roles. I was continuously surprised by the energy and conciseness these two produced. Additionally, within the ensemble, the specialist dancers do an amazing job covering their varying numbers, most notably in Veruca's Nutcracker, as well as taking a future Pop princess under their wing.
Varying staging components that I shall not spoil but are worthy of mentioning include Charlie’s paper plane and the glass elevator. The methods used in both scenes are great to witness. Costume Design and Construction on this musical will always be a mammoth task, and the team has done a wonderful job in meeting the perceived ideas the audience expects in all characters.
Opening Night performances usually come with a couple of unforeseen issues, and this production wasn’t without its share. However minor, they did impact the show but I’m sure they’ll be rectified in time for the next audience. On stage, there was often congestion in the wings on ensemble exits, and there is a rogue light during If Your Father we’re Here.
The production work and timing on the TV details prior to, and after Vidiots was practically perfect! Kudos!
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