Ian Fleming’s whimsical creation, Chitty Chitty Bang Bang, which began life as a manuscript penned during his hospital stay and later adapted by Roald Dahl and others into the 1968 film, continues to captivate audiences in its stage musical form. Since its West End debut in 2002—enhanced by six additional songs from the Sherman brothers and featuring a famously elaborate car costing £750,000—the story remains a theatrical challenge due to its blend of fantasy and spectacle. The current production at the Watermill Theatre in Newbury offers a distinctive, intimate interpretation of this family favourite that embraces both simplicity and imagination.
Under the direction of Paul Hart, the 200-seat venue opts for a modest, handcrafted aesthetic that aligns with the play’s rural charm. The central character, Caractacus Potts, a widowed inventor portrayed by Christian Edwards, delights his two children by purchasing and rejuvenating a battered car that becomes the magical Chitty. Edwards’s role extends beyond acting as he also performs live guitar accompaniment during the tender “Hushabye Mountain.” His onstage musicianship reflects a larger trend in the production, where cast members frequently double as instrumentalists, playing keyboards, horns, violins, drums, and accordion.
The production’s set and costume design, crafted by Katie Lias, contribute to a vibrant and slightly whimsical atmosphere that spans two contrasting acts. The first act introduces the Potts family and their encounter with Truly Scrumptious—played with spirited charm by Lydia Louise—and the titular vehicle. The whimsical name “Truly Scrumptious,” while quaint, carries the eccentric legacy of its creator, aligning with Fleming’s penchant for playful character names. The narrative then shifts in the second act to the fantastical realm of Vulgaria, engaging audiences with fairytale-like adventures.
The show incorporates elements that encourage audience imagination, notably in the staging of the eponymous car. Rather than attempting to conceal the mechanisms and puppeteers manipulating Chitty, the production deliberately exposes these elements, inviting viewers to suspend disbelief and engage actively with the storytelling. Notable performances include Samuel Morgan-Grahame as the flamboyantly dressed Baron Bomburst, who also contributes musically on stage, and Susannah Van Den Berg, who balances her portrayal of the sinister Childcatcher with clarinet playing.
Although there is some critique regarding the energy level of the Vulgarians in the second half—suggesting a slightly more restrained approach might enhance enjoyment—the production’s strength lies in its musical numbers, from the catchy and enduring title track to the lively “Me Ol’ Bamboo,” performed in a fairground-themed marquee adjacent to the theatre.
Chitty Chitty Bang Bang at the Watermill Theatre is designed for audiences aged five and older, blending the enchantment of its source material with a modest scale that spotlights performance and creativity over spectacle. With Matthew Warchus, known for his work on Matilda the Musical, set to helm a forthcoming film adaptation, this stage iteration serves as a reminder that, with the right approach, this quirky story continues to resonate across generations.