The Watermill Theatre, Newbury – until 13 September 2026
Reviewed by Marcia Spiers
5*****
Amazing, Fun and Nostalgic
This brilliant production is a joy from the moment you arrive. The Watermill sets the scene with the bustle and colour of a funfair, complete with popcorn, sweets, ice cream and games. Once seated, the audience is transported into the home of Caractacus Potts as the much-loved story begins to unfold.
Adapted for the stage by Jeremy Sams, based on the MGM motion picture script adapted by Ray Roderick with music and lyrics by Robert M. Sherman and Robert B. Sherman, Directed by Paul Hart
Based on Ian Fleming’s novel and the 1968 film, with clever alterations by Roald Dahl and Ken Hughes, this well-loved musical carries a warm sense of nostalgia. Set in the English countryside, it evokes childhood memories, familiar songs and the comforting promise of a happy ending. Wouldn’t that be lovely in the world we live in right now?
The Watermill has once again pulled together an excellent production. Creating the famous floating and flying Chitty in such an intimate space is a real triumph, and the effect is both convincing and magical. The puppetry is equally impressive, bringing dogs, seagulls, Grandpa and Chitty herself vividly to life. Katie Lias and her design team must have had sleepless nights creating these imaginative feats of staging, set and props.
The costumes capture everything we remember, from the poverty of the Potts family to the extravagance of Vulgaria. I particularly loved the Samba scene, where the colour and flamboyance of carnival filled the stage. For a moment we could have been in Rio, even though we were locked in Baron’s Castle.
The music, led by Stuart Morley, is as often at the Watermill — superb. Cast members play instruments, and some switch effortlessly between acting, singing and multiple instruments. Led by Anjali Mehra, the ensemble of dancers and musicians gives the production energy and cohesion, with all the children, adding real sparkle. Credit must also go to the backstage teams for the seamless transitions, lighting and sound, despite the odd prop mishap easily resolved.
During the first half, the audience is transported outdoors into a marquee for the funfair scenes. With audience interaction, wonderfully energetic Morris dancing and a dodgy invention that helps Potts make his first sale, this shift adds to the production’s distinctive charm before the action returns to the main stage. It made for a memorable experience on a lovely, if unseasonably chilly, June evening.
Christian Edwards makes a credible and loving Caractacus Potts, ably supported by his children, Jemima, Sophie George, and Jeremy, Elijah Bailey. Both are young stars in the making. Theo Diedrick is relaxed and engaging as scrap metal dealer Coggins, while Mark Curry clearly relishes the eccentricity of Grandpa Potts, attacking the role with gusto. Lydia Louise brings a feistier take to Truly Scrumptious, and her beautiful vocals are ideally suited to solos such as “Doll in a Music Box.”
Suzannah Van Den Berg gives the traditional Childcatcher a new perspective: still deeply uncomfortable, but not as overtly creepy as the film version. She also remains on stage throughout, contributing to ensemble roles and highlighting her talents as a musician.
The Vulgarians are among my favourite characters in this production. Alexander Zane and Sam Pay give fantastic comic performances as the two hapless spies Goran and Boris, winning plenty of laughs while also playing musical instruments throughout the production.
Samuel Morgan-Grahame and Mairi Ikegami are excellent as the spoilt, childlike Baron Bomburst and his tyrannical, conniving wife Baroness Bomburst. They are both comical and unsettling at the same time. The Samba routine is a particular highlight.
A big shoutout to everyone involved in this wonderful production. Make sure you see it over the summer: the show is full of heart, humour and invention, and the stunning location is a bonus.