Chitty Chitty Bang Bang

It’s easy to be overly cynical about the production of Chitty Chitty Bang Bang currently parked in Scotland. It is a staged rehash of a much-loved film that lacks much dramatic substance and has a towering budget that dwarfs any sense of humanity.

It’s also a prelude to panto season, with loud boos and cheers escaping from the audience, all capped with the screams, sniffles, whispers and occasional aisle-running of bored children.

And yet, it is difficult to be too harsh because, like the dogs that come running out at key moments, it is eager to please and just wants to be loved.

For the uninitiated, Chitty is inspired by a children's book written by Ian Fleming. The film, produced by the team behind James Bond and with songs by Disney in-house writing duo the Sherman brothers, is a holiday staple that follows the adventures of the Potts family and their magical car. There are heroes, including the good-hearted father and slightly mad inventor Caractacus Potts and the aptly named damsel Truly Scrumptious, and there are villains, including the toy-loving Baron Bomburst and the much-feared Child Catcher.

And there is the car. The staging and special effects used to make Chitty drive, float and fall are impressive, and when the car literally takes off and flies around the theatre space the audience launch into thunderous applause. It’s all awe-inspiring stuff that is well worth the money.

Too bad, then, that the production as a whole doesn’t feel the same. While it is directed with flourish by Adrian Nobel, and Antony Ward’s design is both playful and impressive, nothing comes close to matching what’s in the film. In fact, many of the film's weaknesses have found themselves amplified by the stage: it’s overlong, filled with under-developed characters and unfocused in the second half.

There are some rather good performances to be had. Darren Bennett and Katie Ray make for effective leads with good energy and nice voices, and John Griffiths has some great moments as Grandpa. The comedic double act of Nigel Garton and Richard Ashton as bumbling spies Goran and Boris is also impressive, and Dean Maynard’s Child Catcher is quite scary, although he’s not on stage nearly enough to be a true threat.

All in all, however, the evening still feels hollow, especially when compared to the film. It received quite a standing ovation on press night; though the production didn't earn the rapturous applause, the car, and its creators, certainly did.

Reviewed in October 2009.