A Low-Calorie Confection

Charlie and the Chocolate Factory – Broadway in Chicago

 

Sometimes a book, or even a film, just doesn’t translate easily to the stage. After the extravagantly fanciful and imaginative interpretation of “Matilda,” it was exciting to learn that another of Roald Dahl’s stories, perhaps his most iconic children’s book, would receive a similar musical theatre treatment. In 2013, Sam Mendes directed a London production that, despite lukewarm reviews, managed to run for three-and-a-half years. When the production was brought to Broadway last year, some changes were made. 

Most notably missing are the children. Whereas the British production featured actual child actors in all of the juvenile roles, director Jack O’Brien unfortunately chose to only cast one kid. The titular Charlie Bucket was portrayed with heart and honesty, on the opening night of this National Tour, by Henry Boshart. This young man is a multitalented actor with an impressive list of credits. (At alternate performances, Charlie is played by Collin Jeffery and Rueby Wood who, one assumes, are all just as equally talented). The rest of youth roles are all played by adults.

 But what makes this stage adaptation so disappointing, despite some good elements, is that the musical is almost completely lacking in any of the spirit found in Roald Dahl’s novel. Barely evidenced in this production is the writer’s witty, acrobatic wordplay, his dark sense humor that children and adults relished, or any of the biting satire that Dahl loved to sneak into his stories. Instead, David Grieg’s book substitutes cantankerous, contemptible behavior and outright meanness for Dahl’s grim gaiety. Gaudy color, tawdry tinsel and shocking scenes of mayhem don’t add up to very much fun.

Thankfully, the score contains two of the nostalgic, pop favorites from the film. They include “The Candy Man” and “Pure Imagination,” songs composed by Leslie Bricusse and Anthony Newley. However, while award-winning lyricist and composer, Scott Wittman and Marc Shaiman, offer a few lovely new ballads, including the heartbreaking, “If Your Father Were Here,” “A Letter From Charlie Bucket” and the wistful “The View From Here,” there are several other numbers that simply irritate. The new score features an unfortunate collection of loud, difficult-to-understand character songs for each of the Golden Ticket winners that tries to overwhelm with sheer volume. 

The scenery ranges from the clever, like the Bucket home, that’s comprised of clutter and debris all welded together, to the unimaginative. Most of Mark Thompson’s scenic design relies upon Jeff Sugg’s splashy, turbulent, ever-moving projections that substitute for intricate set pieces. Paired with Japhy Weideman’s eye-popping lighting design, the effect is sometimes dark and moody, sometimes ablaze with color. Then there are often scenes that are played out on a mostly empty stage, that belies the promised spectacle of Wonka’s wondrous chocolate factory.

The cast is excellent to competent. As mentioned, Henry Boshart makes a great Charlie. Amanda Rose brings just the right amount of heartbreak and unselfish devotion to the impoverished widow, Mrs. Bucket. The bedridden Grandparents are all fine, although they don’t get very much to do. James Young does especially well as Grandpa Joe, (spoiler alert!) the adult Charlie chooses to accompany him on his tour of Wonka’s Chocolate Factory. Young is enthusiastic and frisky, appearing to be ready to meet whatever Mr. Wonka throws his way.

As Willy Wonka, the key character in this story, Noah Weisberg is adequate. While Christian Borle would flame and ebb in the Broadway production, Mr. Weisberg merely sparkles in a few scenes, but then seems to fade into the scenery at other times. Physically reminding audiences of SNL’s Andy Samberg, Mr. Weisberg ricochets between mysterious and congenial, in a single breath. The young actor from Chicago’s North Shore is a talented singer. However, there are times when Noah’s energy level seems to diminish to the point where we forget that this is primarily his story.

Charlie’s competition for the five Golden Tickets and a lifetime of chocolate, is played by Jessica Cohen, as the greedy Russian ballerina, Veruca Salt; Brynn Williams, as the gum-chewing Queen of Pop, Violet Beauregarde; Matt Wood, as the ample Bavarian Beefcake, Augustus Gloop; and Daniel Quadrino, as the technology addict, Mike Teavee. These adult actors should be commended for not “playing” children, but simply acting the roles of these glutinous youngsters, as if the were just immature adults. Their overbearing parents include Nathaniel Hackmann, as Mr. Salt; David Samuel, as Violet’s dad, Mr. Beauregarde; Madeleine Doherty, as Mike’s self-medicating mother, Mrs. Teavee; and, returning to the role she created for the original Broadway production, Kathy Fitzgerald, as

Augustus’ mother, Mrs. Gloop.

Some books and/or movies are just too challenging to be adapted for the stage. Despite reworking the book and score since the London production, the storytelling element of this musical is still uneven and the humor is sometimes shockingly cruel and brutal. Casting adults in the children’s roles, a poor sound design that makes certain songs difficult to understand and an ho-hum, uninspired scenic element that unfortunately doesn’t live up to the Roald Dahl’s descriptions, all make the chocolate in this Willy Wonka’s Factory taste generic, low-calorie and unmemorable.

 

Somewhat Recommended

Reviewed by Colin Douglas  

 

Presented October 2-21 by Broadway in Chicago at the Ford Oriental Palace, 24 W. Randolph St., Chicago.

Tickets are available at all Broadway in Chicago box offices, the BIC Ticket Line at 800-775-2000 or online at www.BroadwayInChicago.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.