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Play Cashoccino – Capitol Theatre, Sydney Based on the growing power of pure imagination, the musical from the beloved children’s book seems impossibly small.

Paul Slade Smith is the mighty Willy Wonka, playful and diabolical. Charlie’s Game and the Chocolate Factory. Photo: Jeff Busby

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For a predictable show about the growing power of “pure fantasy,” Charlie and the Chocolate Factory, the new song based on Roald Dahl’s beloved children’s book, seems impossibly small.

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The compact touring set (designed by Mark Thompson) perfectly placed in the center of the Capitol Theater has a bleak and plastic feel to the eponymous factory. If this production ever shined in the West End and Broadway exits, it cost a lot of luster as the world tour waned.

But perhaps finding magic is a matter of faith or belief. As Wonka says – and often sings – “you have to see it to see it”.

All this creation is driven by an unhealthy desire to believe. In Australia, after a highly refined season in London and New York, the music has been revised several times, loopholes closed and mistakes fixed, so that the music arrives hanging by a thread, walking between the open teeth of Oompa-Loompa kicklines. . and hard but true statistics about the power of dreams.

The story you may remember from your childhood is more or less preserved, but its focus here is skewed and conflicted. Willy Wonka (Paul Slade Smith) introduces himself to us as the ending draws to a close, explaining his job, the factory, and his desire to retire. He then opens a pop-up chocolate shop on the street for poor Charlie Bucket (Ryan Yeates, cute as a button on opening night) while his family calls home to return to the market. Wonka passed on the bullets, Charlie explains. He likes them with a cute little kid attitude, but the other kids aren’t too impressed, especially since Wonka doesn’t even advertise on TV. Charlie, a lovable but colorless character, is always overshadowed by this extra moment and sharing the limelight with Wonka.

Roald Dahl’s Charlie And The Chocolate Factory

The rest, more or less, you know, although author David Greig has both modern and sophisticated legends: Wonka was inspired to open his factory to children who had one of the five golden tickets hidden around the world in chocolate bars; The first four are won by the greedy August Gloop (Jake Fehily, in a truly pathetic oil suit), the spoiled Veruca Salt, the imaginary young Russian ballerina (Karina Russell), the bubblegum Violet Beauregarde, a self-proclaimed YouTube star. The Queen of Pop (Monette McKay) and Mike Teavee, a highly addictive, aggressive, gaming addict (Harrison Riley).

Jake Fehily as August Gloop and Octavia Barron Martin as Mrs. Gloop in Charlie and the Chocolate Factory. Photo: Jeff Busby

After taking a dollar from the now-closed Wonka’s pop-up, Charlie gets a ticket, much to the delight of his family. Mr. Bucket is long gone – who wipes the caps off all the toothpaste tubes at the factory? — and it falls to Mrs. Bucket (the underused, beautiful Lucy Maunder) as an excuse. Unfortunately, her best moment is a nod to her absent husband and her own successful, loving parenting effort, If Your Father Were Here.

These new songs from Broadway powerhouse duo Marc Shaiman and Scott Wittman (Hairspray, Mary Poppins Returns) are more brutal than accurate and more goofy than sentimental, brutally aligned with 1971’s soundtrack of the film and often contradicts the story. an internal sense of speed and time. Still, Joshua Bergasse’s choreography is effective and fun to watch.

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Ryan Yeates as Charlie and Paul Slade Smith as Willy Wonka in Charlie and the Chocolate Factory. Photo: Jeff Busby

The narrative is clear in broad strokes, but muddled in details and moments. Charlie always gets lost in the noise, the jokes about Mrs. Teavee (Jayde Westaby) and her 1950s drunk and desperate housewife feel contrived, and the Oompa-Loompa feels like an outdated and unresolved racist stereotype.

The whole scene takes place before we enter the chocolate factory, and when we do, the size of the toy box and the edible dolls seem small and fake, giving us room to enjoy the final precisely timed, fast-moving action. in this world it is called wonderful.

Smith is a very powerful Wonka, playful and devilish. His performance is well-staged and a great honor, since he did not study the role on Broadway, but his casting plays the huge problem of becoming a musical lead when our performance environment exceeds the production’s capacity; Watching him, you can’t help but wonder why so many loud and boisterous homers have been blocked from the position.

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Let’s give thanks to the chocolate god himself, Uncle Joe. He was played by Aussie legend Tony Sheldon in full Aussie accent and was peppered with anecdotes about his time working as an agent for Burke and Will as soon as he left the show. It’s all down to his attention to detail and million-watt charisma: the way he crosses the line with a flick of his arm, a tilt of his head and a perpetual twinkle in his eye that makes him admirable even as he chews space.

There are a few other delights — watching every kid (all but Charlie, who is played by adults) deal with their own abominations, enjoying Octavia Barron Martin’s Mrs. Gloop, the first film I Got a Gold Certificate — but finally. . there is too much empty sugar and not enough flavor. Start your day off right with a caffeine and jackpot hit on your way to CashOccino Slots.

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