Charlie and the Chocolate Factory review: Manor Operatic Society puts on stylish, charming production at Sheffield City Hall
I took a step into the beloved world of pure imagination created by Roald Dahl and was delighted with the whole adventure.
Taking on one of the world's most popular stories of all time and doing it with enough style, pizzazz and skill to capture the hearts of your audience is a challenge even Willy Wonka might fear. But Sheffield's Manor Operatic Society are afraid of nothing and Charlie and the Chocolate Factory is now just the latest in their long line of wonderfully performed musicals.
This classic children's story demands great sets and Manor rose to the challenge with true flourish. This is a spectacular production with brilliant stage work.
Dylan Lambert is immense as Willy Wonka. Pitch perfect, off-the-wall when the character demands it and joyfully zany throughout. If his aim was to sprinkle magic over Sheffield City Hall, he did that in bucketfuls.
Grandpa Joe, by Callum Fellows, is another delight. The spring in his step emerged as soon as he bounded out of his bed, in one of the most wonderful scenes of the show. But even these two larger than life performances almost had the evening stolen away from them by the very impressive Charlie, played by Rafe Newton on opening night. New, true, Yorkshire talent who definitely has the skill and confidence to perform under bigger spotlights as he grows.
The story, of course, also focuses on four other children and their hapless parents. Each pairing was as charmingly OTT as their grisly endings. My son's favourite was Mike Teavee, a more up-to-date version of Roald Dahl's telly addict. The devices may be new but the scowls and attitude haven't changed, as the parent of any teenager knows only too well. Mums like me might find they can relate better to his over-stressed mother. Another gin, anyone?
Then there is the perfectly paired Salts: rich, ridiculous, dancer extraordinaire Veruca and her dad. This ultra cool pair have all the moves for modern day stardom, as well as all the painfully accurate characteristics that see so many crash and burn.
As for the Gloops, they were absolutely hilarious. Madcap, ridiculous and greedily gobbling up the laughs of all those watching. The smiles, the accents, the fake sausages - I'm sure Dahl would have been delighted.
Let's not leave out the Beauregardes. Mr Beauregarde was a clear favourite among the young audience with his fame hogging, glory seeking antics but I was besotted by Violet's diva perfection. Whether these very different families were blowing up into a blueberry, being attacked by squirrels, shrunk for TV or swept away in chocolate - they were all winning combinations.
I've always adored the storybook but this was the first time I'd seen the musical. There are variations from the original storyline but it is just as brilliant as you would hope. By the interval, we were fans - and the second half was even better than the first. This is a huge performance by a very talented cast that all ages will adore.
As usual, it is hard to imagine how those at Manor Operatic Society manage to pull together blockbuster performances while holding down their regular jobs and family life. Yes, it is amateur dramatics but, no, you wouldn't believe it. The driving forces are Richard Bradford, Linda Kelly and Andrew Collis but it takes a huge team effort to create magic at every single production.
As Wonka would say, so much time and so little to do - or perhaps that should be the other way around. Believe in the magic and you will certainly find it in this spectacular show.