Review by Alexa Moore
We're fresh out of Golden Tickets, but what we do have are five well earned gold stars - the highest score we can award at The Amdram Observer.
It was a pleasure to return to the Churchill Theatre in Bromley for the West Wickham Operatic Society's production of ""Charlie and the Chocolate Factory."" Having reviewed their staging of ""Oliver"" earlier this year, I knew I was in for a treat.
The musical is based on the beloved Roald Dahl novel of the same name, with a script by David Greig and an original score composed by Marc Shaiman. The lyrics were written by Scott Wittman and Shaiman, and the production incorporates some essential songs from the movie.
Kevin Gauntlett and Danielle Grant returned as director and choreographer; this time, Jane Werry joined as the musical director. Gauntlett and Grant work well together, seamlessly blending direction and choreography. What I admire about Gauntlett's direction is his ability to give every scene a distinct look and feel, even though the first act features many repeated scene setups.
For the performance I attended, Toby Irwin played the title role of Charlie, a part he shared with Isobel Tilson. Irwin was outstanding, transitioning from the ensemble in ""Oliver"" to taking centre stage here, which is quite impressive. He possessed the voice of an angel and had the acting talent to match. Being the only child performer in a cast of adults cannot be easy, but he held his own remarkably well and showcased great chemistry with the other characters.
Dominic Binefa took on the iconic role of Willy Wonka, a challenging part made famous by Gene Wilder. Binefa fully embraced the eccentric showman character, and his vocals particularly shone during the song ""Pure Imagination."" The musical provides a more significant opportunity for Willy Wonka and Charlie to bond than the movie, as Willy spends the first act incognito.
The demise of each golden ticket winner was cleverly executed; I especially enjoyed Violet's blueberry costume and watching her bounce across the stage. All credit to the impressive Kate Gauntlett. As this was my first time watching the musical adaptation, I was surprised to discover that most of the children (except Mike Teavee) are confirmed dead in the story. A special mention must go to Lois Wakefield, who beautifully embodied the petulant Veruca Salt, stomping around the stage with a thunderous expression, perfectly contrasting her elegant ballet movements and styling.
Photographs by Johnny Faint
In my review of ""Oliver,"" I noted that there were sometimes too many people on stage, but for this musical, the numbers were just right. There was a large ensemble to portray the townspeople, Oompa Loompas, and to fill the expansive stage, yet it always felt well-spent. Danielle Grant embraces everyone's dance abilities, utilizing more complex routines for a core group of dancers and employing simple but effective steps for the entire ensemble.
The design elements of this production were fantastic. The back wall comprised projections (provided by Scenic Projects) that flowed seamlessly with the set and brought different locations to life. Sometimes, projection can make a set appear too flat; however, the projection's detail was integrated perfectly with the 3D elements on stage. No detail was overlooked in the costumes either; I loved that the Oompa Loompas wore different overalls in each scene, and the squirrel costumes featuring Oompa Loompas riding on them were a stroke of genius.
Although I don't usually comment on the bows, I particularly enjoyed how the Oompa Loompas would run across the stage to introduce each character during their bows.
Overall, another excellent production from WWOS. Seeing an amateur dramatics group thriving while performing at a packed Churchill Theatre is wonderful. WWOS will be entering its 90th anniversary in 2025, and here's to many more years of outstanding theatre!
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