For those seeking a dose of childhood nostalgia or introducing a new generation to a beloved classic, Chitty Chitty Bang Bang on its latest UK tour proves to be a theatrical delight. The production, directed by Thom Southerland, delivers an all-singing, all-dancing spectacle that retains the heart of the 1968 film, while adding fresh flourishes and impressive technical feats. With its blend of adventure, comedy and enchanting stagecraft, this production captures the magic of Ian Fleming’s original story and the iconic Sherman Brothers’ score.
Set in early 20th century England, the story follows eccentric inventor Caractacus Potts and his two children, Jeremy and Jemima, who become enamoured with an old race car in a scrapyard. With financial help from the spirited Truly Scrumptious, Potts restores the vehicle, only to discover that it has magical properties, including the ability to fly.
Their newfound wonder quickly attracts the attention of the villainous Baron and Baroness of Vulgaria, who send their bumbling spies, Boris and Goran, to steal the car for their own nefarious purposes. As the Potts family embark on an unexpected adventure to Vulgaria, they encounter a land where children are outlawed and the terrifying Child Catcher prowls the streets. With courage, wit and the help of a hidden resistance of children, they need to outsmart the villains and prove that love, imagination and a little bit of magic can overcome even the darkest threats.
Bringing Chitty Chitty Bang Bang to the stage is no small feat, especially given that its titular star is a flying car. However, this production rises to the challenge with jaw-dropping theatrical wizardry. The moment Chitty lifts off, soaring through a star-studded backdrop, is pure stage magic. Gasps of wonder ripple through the audience as the car twirls in the air, its polished chassis gleaming under the lights. The illusion is so seamless that it feels like stepping into the fantastical world of the Potts family. While some of the road scenes reveal the car’s movement mechanisms too clearly, the overall spectacle more than makes up for it.
The set design by Morgan Large creatively overcomes the limitations of a touring production. While more streamlined than the original 2002 London Palladium production, it remains innovative and captivating. The use of large crates manipulated by the cast provides a fluidity that drives the storytelling forward. Transformations like the Coggins Car sign morphing into a windmill and the animated false proscenium arch add layers of imaginative charm.
Caractacus’ quirky workshop and the Potts’ home are joyously realised, though some moments play out in front of a curtain to accommodate the show’s technical demands. While this occasionally undermines the immersion, it’s a small price to pay for the show’s grander visual moments.
Newcomer to the cast Ore Oduba takes on eccentric inventor Caractacus Potts, bringing warmth and honesty to the beloved role. The character requires a delicate balance between doting father, hapless dreamer, and reluctant hero, all of which Oduba navigates successfully – albeit more quietly in comparison to the pantomime-esque antics of many other characters. His renditions of ‘Hushabye Mountain’ and ‘You Two’ are heartfelt and provide welcome respites of calm amid the increasingly chaotic world of Chitty Chitty Bang Bang.
Ellie Nunn shines as Truly Scrumptious, offering a stronger, more independent take on the character than her film counterpart. Her vocals are effortless and her chemistry with Oduba feels authentic, adding depth to their growing romance.
The Baron and Baroness of Vulgaria (Martin Callaghan and Jenny Gayner) lean heavily into pantomime-style comedy, breaking the fourth wall with playful antics. Along with Vulgarian spies, Boris (Adam Stafford) and Goran (Michael Joseph), they quickly cement themselves as audience favourites. All possess the ability to make a totally engaged audience laugh with a mere look.
While their performances are certainly entertaining, the exaggerated style of the characters occasionally overwhelms the subtler moments of the story. A slightly more restrained approach may have allowed the comedy to feel more integrated into the plot, without outshining the other characters or overshadowing the narrative’s quieter elements.
Then, of course, there’s the Child Catcher. Charlie Brooks joined the cast after the tragic death of James Lee Williams, professionally known as The Vivienne. Brooks is a suitably eerie presence, but lacks the nightmarish subtlety that made Robert Helpmann’s original film performance so terrifying. Brooks’ attempt at a menacing accent, rather than adding to the character’s sinister aura, proves more distracting than effective.
The Sherman Brothers’ score remains as infectious as ever. The ensemble numbers, particularly ‘Toot Sweets’ and ‘Me Ol’ Bam-Boo’, are lively and well-executed. Credit must be given to the incredibly strong ensemble, who perform dynamic choreography throughout both acts. Their vocal prowess particularly shines in Act One’s ‘Hushabye Mountain’. Initially, Potts sings a lullaby in an intimate father-children moment. However, as the song progresses, the ensemble joins in, adding ethereal harmonies that enhance the dreamlike atmosphere of the number.
Chitty Chitty Bang Bang largely succeeds in striking the right balance between nostalgia and fresh energy. While some comedic elements border on overexaggerated and the set design makes occasional compromises, the heart of the story shines through.
Ultimately, it is a show where spectacle and sentiment go hand in hand. The flying car remains the undisputed star, wowing audiences of all ages. Whether you’re a grandparent reliving cherished memories or a child experiencing the magic for the first time, Chitty Chitty Bang Bang is a theatrical treat worth seeing.
Read: Performance review: The Last Laugh, Noël Coward Theatre
The audience certainly agreed at the performance this reviewer attended, rewarding the cast with an enthusiastic standing ovation at the curtain call. The night ended on a particularly poignant note when Liam Fox (Grandpa Potts) delivered a touching tribute to Williams. His heartfelt words were met with warm applause, a fitting testament to the late performer’s impact and the sense of camaraderie within this production. It was a moment that reinforced the power of theatre – not just to entertain, but to unite audiences in shared emotion and appreciation.
Chitty Chitty Bang Bang
Hippodrome Theatre, Birmingham
Director: Thom Southerland
Musical Director: Jessica Viner
Musical Supervisor: George Dyer
Original Orchestrations: Chris Walker
Choreographer: Karen Bruce
Set Designer: Morgan Large
Lighting Designer: Ben Cracknell
Sound Designer: Gareth Tucker
Cast: Ore Oduba, Liam Fox, Charlie Brooks, Ellie Nunn, Gracie Cochrane, Roshan Thomson, Martin Callaghan, Jenny Gayner, Adam Stafford, Michael Joseph, John Macaulay, Charlie Banks, Melody Caruana, Gracie Cochrane, Isla Ithier, Charlie McGuire, Lara Simon, Huxley Syers, Roshan Thomson, Charlie Bishop, Ruaraidh Blackwood, Hadrian Delacey, Belle Kizzy Green, Tia Gyngell, Kirsty Ingram, Bibi Jay, Isabella Mason, Joe Press, Theo UK Rose, Molly Rees Howe, Callum Train, Luke Woollaston
Tickets: from £26
Chitty Chitty Bang Bang will be performed at the Birmingham Hippodrome until 9 March 2025 before touring nationally.
