Book by David Greig

Music by Marc Shaiman

Lyrics by Scott Wittman and Marc Shaiman

Directed by Fraser Grant

Review by Dominic Corr

What magic lies beyond these walls, these enormous and embossed gates with a familiarly whimsical ‘W’ cast in a golden light. Well, what else but a world of Pure Imagination? Turning the Church HillTheatre into a scrumptious realm of wonderous chocolate specialities and an explosive space for imagination to bloom, Balerno Theatre Company return to the venue following a very successful Alice in Pantoland last year with a festive treat which takes a detour away from the more obvious pantomimes sprawled across the city.

Deliciously macabre, just like any good Dhal should be, Balerno Theatre Company have all but solved any bad blood Scotland may have experienced with its recent history with the Wonka story. There’s no Sad Oompa Loompas here; why there isn’t a face in Church Hill which isn’t grinning ear to ear thanks to the dedication from the entire team who stage David Greig’s adaptation of the Roald Dahl story until December 8th. Donning that tempered chocolate top hat this time: Michael Davies. Complete with peppermint trousers and a Strawberry cream waistcoat.

Davies, who also brings life to this multi-flavoured and colourful set, one which consistently impresses and drives a sense of wonder and spark without being overly reliant on projections or graphical effects, is the ideal Wonka: entirely of their own but with suggestions of all those who made the role great beforehand. Witty, always with questionable intention, but with that soft and gooey heart at the centre. They’re a joy to watch with the remainder of the cast and manage to sell, effortlessly, the older cast members playing children without any real issues – but the real magic comes from their moments with Iona Irvine, this evening’s Charlie Bucket and the infamous glass elevator.

Playing with the ‘big kids’, Irvine alternates their role as Charlie Bucket with Lillie Paul, carrying an enormously significant role (with more than the lion’s bar share of lines) with marvellous confidence and stage presence amidst some of Dhal’s more prominent and hammier characters. There’s a genuine sincerity there, too, often shared with Jessica Russell as Charlie’s mother, who offers a nice break away from the production’s frequently heavy lean into humour with Charlie’s grandparents, played by Susan Denham, Joanne Goodall, a delightfully grim-humoured George Mackie, and Ade Smith runs away with the role of a very approachable and warm Grandpa Joe who can make the big plays and moments count when required.

A veritable bunch of misfits, the children who fall victim to Wonka’s factories tricks and tests are an integral part of any story – especially in this adaptation, which doesn’t spend as much time in the factory as audiences expect. The slower start means that once we meet the likes of Veruca Salt and Mike Teavee, their impact is much needed, and for the love of a liquorice allsorts, it is delivered. Whether it’s Kayleigh Glover’s greedy and humorous Augustus Gloop, Fay Marshall’s brilliant take on an aggressive, overly clever Mike Teavee, or Molly Mae Talbot’s gum-chewing ‘pop’-princess Violet, the whole ensemble does a stellar job. While Kate Hammond’s downright terrifying, yet elegant, Russian ballerina Veruca Salt showcases Darren Johnson’s choreography at its best – as do the rainbow tribute Oompa Loompa numbers with the ominous tune we all tremble at.

An impressive band capture the melody of Wittman, Shaiman, and a couple of Leslie Bricusse and Anthony Newley’s beloved numbers from the film with precision – though the Church Hill acoustics strike once more, as some of the bigger numbers can cause a bit of drowning out of the lyrics. And on the note of sound, Charlie and the Chocolate Factory not only looks good but also puts the sound effects to great use – including some terrific mime work from the cast in an invisible trap-laden room of imagination and invention. A scene, which with a weaker cast would feel awkward, but here is a highlight.

A whole chocolate box of delights but without all the flavours you’d usually avoid, Charlie and the Chocolate Factory toys with more imagination than the recent professional touring production and certainly offers more compelling realms of imagination and creativity. With a superb cast, who do their best to overcome the story’s pacing issues, there are some real top-quality performances from this highly accomplished theatrical group: we’re already curious about the delights they have for next year.

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