Chitty Chitty Bang Bang

Originally written by Ian Fleming (best known as the creator of James Bond) for his son, Chitty Chitty Bang Bang is perhaps most famous for the much-loved 1968 film starring the legendary Dick Van Dyke. Now, CTC brings this rip-roaring adventure to Loughborough Town Hall. With just four performances remaining, and having thoroughly enjoyed every second of last night’s show, this truly scrumptious production is most definitely not one to be missed.

Chitty Chitty Bang Bang follows the adventures of an eccentric inventor and his two children after a remarkable old car leads them on an unexpected journey. What begins as a simple family story quickly becomes a magical adventure filled with colourful characters, daring escapes, and plenty of heart. At its core, it’s a joyful tale about imagination, courage, and the power of family — perfect for audiences of all ages. The earlier 7pm start time also ensures that any little ones in the audience will be tucked up in bed at a reasonable hour.

It makes me incredibly proud to live in Leicestershire when faced with such phenomenal talent on stage. There isn’t a weak link in the cast, and it’s no exaggeration to say that every single performance would sit comfortably on a West End stage. Every element of the production feels seamless, and I especially loved how creatively the stage was used throughout. Director Nick Sutcliffe’s remarkable attention to detail is evident in every moment, with his vision shining through from start to finish.

It is during the opening number that I find myself smiling from ear to ear — not only because of the roof-lifting singing and glorious harmonies, not only because of the beautifully detailed vintage costumes and the impressive ensemble filling the stage, but because the auditorium itself hums with anticipation, excitement, and a wonderful sense of nostalgia, heightened by a warm wash of light that immediately draws us into this magical world (lighting design by James Cladingboel).

That feeling is instantly sealed with the entrance of Caractacus Potts (Ben Burgess). As the heart of the show, this is a role that demands both warmth and charm — and Burgess delivers both in abundance. With his silky tenor voice and tender portrayal of a devoted father, he wins over the audience from his very first moment on stage. A true triple threat, Burgess shines as a singer, actor, and dancer, nowhere more so than in the exhilarating choreography by Frankie Johnson in the show-stopping “Old Bamboo.” Yet it is in one of the quieter moments that he proves most captivating: alone on stage with only flickering candlelight for company, his stripped-back rendition of “Hushabye Mountain” is simply breathtaking.

Burgess’ chemistry with his onstage children, Jeremy and Jemima (played this evening by Henry Lansley and Amelie Vickers), feels completely natural. Both young performers bring a perfect blend of cheekiness and innocence to the production, and it’s impossible not to smile as they soar in the flying car, enthusiastically waving to the audience from high above the stage. I must confess, I wasn’t expecting the car to actually fly — this is regional theatre, after all — so you can imagine my delight when Chitty lifts off at the end of Act One, bathed in a burst of sparkling light. I don’t think I’ve ever heard an auditorium erupt with quite so much noise at the start of an interval. Simply sublime.

Truly Scrumptious (Anja Zeman) has just the right amount of sass and warmth, and her vocals are sensational. What a range! Zeman perfectly embodies the feisty yet tender Truly, and a particular highlight for me is “Doll on a Music Box,” where she beautifully showcases both her vocal control and musicality.

There is so much humour in this production, and so many laugh-out-loud moments. From broad slapstick to clever wordplay, there is something here to appeal to everyone. Goran (Isaac Banda) and Boris (Jarrod Makin) are simply hilarious as the dim-witted spies tasked with recovering the lost Chitty for Baron Bomburst (Jonathan Penton) and Baroness Bomburst (Gemma Farnell). As a duo, these two exceed all expectations — they tread the fine line of comedy so skilfully that they are never ridiculous, which is no easy feat. When you find yourself laughing before a single word is spoken, you know the performers are doing something very special. Bravo to both — and thank you for my aching cheeks.

Penton and Farnell share wonderful chemistry and absolutely relish their moment in the gloriously absurd “Chu Chi Face,” hamming it up with exaggerated expressions, deliciously over-the-top accents, and impeccable comic timing. It is a show-stopping moment of pure pantomime joy that brings the house down.

Grandpa Potts (Duncan Gadsby) brings warmth and wisdom to the story as the slightly eccentric but endlessly lovable grandfather. His scenes are filled with quiet charm and heartfelt sincerity, offering a lovely contrast to the larger comic set-pieces elsewhere in the show. On the darker side of the fairytale, the Child Catcher (Hannah Osgood) is deliciously sinister — a spine-tingling presence who prowls the stage through shadow and spotlight, sending shivers through both children and adults alike. Balancing this beautifully is the Toymaker (Al Jordan), whose gentle kindness and quiet bravery add real emotional depth to the second act. Together, these three characters enrich the world of the story, providing moments of laughter, tension, and tenderness in equal measure.

The large ensemble cast work incredibly hard in this production, with costume changes aplenty. Whether appearing as sweet-shop workers, carnival dancers, or eccentric inventors, they throw themselves wholeheartedly into every role, bringing the stage to life with Frankie Johnson’s vibrant choreography and glorious singing. Musical Director Vicki Hing should be immensely proud of what she has achieved here — not only with the rich vocal performances, but also with the accomplished band, so often the unsung heroes of any production. In a show that is so heavily underscored, precise timing becomes another layer of complexity, and here it is faultless, beautifully supported by subtle shifts in lighting that keep the pace and mood flowing seamlessly.

The ensemble children in this production are divided into two teams, Team Truly and Team Scrumptious, and it is a joy to see the opportunities that theatre offers young performers. Watching them stand so confidently on stage, maintain character, and sing their hearts out is genuinely uplifting. A special mention must go to Ezra Hinsley-Sarker as Toby — with just a single, perfectly delivered line, he completely stole the hearts of the audience. Brightlights Theatre School and Gracedieu Academy of Dance should be immensely proud of everything their young performers have achieved here.

I absolutely loved this production, and it is more than worthy of a five-star review. For me, the true test of a five-star show is a simple question: would I go back and watch it again tomorrow? Without hesitation, I would jump in my car, sail the ocean (avoiding the cannons), and fly through the skies to get there.

Playing until Saturday 24 January, Chitty Chitty Bang Bang is the perfect antidote to those January blues.