At a time of year where sweet treats abound and entertainment options seem to multiply, Young People’s Theatre’s (YPT) current production of Charlie and the Chocolate Factory is a delightful confection for audiences of all ages. Directed by the esteemed Thom Allison, this adaptation breathes new life into Roald Dahl’s classic tale, offering a streamlined, vibrant rendition that captivates from start to finish.
As in the 1964 novel or its famous film adaptations, the narrative follows selfless young Charlie Bucket, who is portrayed with warmth, wistfulness and wonder by Breton Lalama, as he discovers a golden ticket, which grants him access to the enigmatic Willy Wonka’s chocolate factory. Accompanied by his wild-eyed Grandpa Joe (an encouragingly eccentric Larry Mannell), Charlie’s guided journey through the factory is both an odyssey of pure imagination and a gauntlet designed to expose the ticket winners’ flaws – which lead to their comical downfalls. This production, which celebrates the 60th anniversary of the novel’s publication, retains the essence of Dahl’s story, while updating the characters and infusing the tale with contemporary sensibilities.
Like the Mirvish production which entertained Toronto audiences during the holiday season of 2018, the YPT production uses the David Greig book and all the songs from the 1971 film (including the iconic “Candyman” ). But in trimming it down to a 75-minute run time for young audiences, a wonderful thing has happened. Minus the padding of static introspection and unnecessary (and often unmemorable) songs, this Young Adult Canadian premiere version gains an energy and focus that grabs – and holds – audience attention immediately. The adaptation also nicely modernizes certain character portrayals to resonate with today’s viewers. As one example, Augustus Gloop, depicted by David Lopez, transitions from a subject of fat-shaming to a Bavarian foodie, gently tweaking culinary enthusiasm without cruelty. And the Oompa Loompas, Wonka’s helpers at the factory, are reimagined as slightly eerie, slightly dangerous robotic AI avatars – sidestepping outdated racial implications and aligning with contemporary technological themes.
Michael Therriault embodies the reclusive, purple suit-clad Willy Wonka with a wonderful blend of manioc energy and slightly dangerous eccentricity, which makes him an ideal foil to Charlie’s purity and innocent wonder. And the rest of the 14-person cast – anchored by Ruth Acheampong as social media star Violet Beauregarde, Nick Boegel as technology addict Mike Teavee, Caitlyn MacInnis as spoiled rich dancer Veruca Salt, and Zorana Sadiq as Charlie’s struggling mother – deliver wonderful performances that bring dynamism and humour to their roles.
Allison’s direction propels the narrative with vigor, utilizing inventive theatrical techniques such as puppetry, imaginative costuming (by Ming Wong), and sleight-of-hand to depict the fates of the golden ticket winners within the factory – and putting the large cast through dizzying costume changes that make this feel like a fully-populated world. The set design by Brandon Kleiman employs clever projections to situate the story in Toronto, enhancing relatability for local audiences. And combined with strategic choreography, movable set pieces and super-clever visual tricks, the production seamlessly transitions among diverse settings, from the various children’s homes to the multifaceted environments within Wonka’s factory.
YPT’s Charlie and the Chocolate Factory is a visually stunning, wonder-filled sweet holiday treat for young audiences. Sure – like most holiday goodies, it’s more light and sugary than nutrient-dense. But make sure you stick around for YPT’s customary Q&A with the actors after the show. This interactive feature proves the production’s success in igniting imagination and inquisitive minds. And in a world of screens and commercialism, that just may be the most delightful gift of the holiday season.
Charlie and the Chocolate Factory continues until December 30, 2024. Reserve tickets at youngpeoplestheatre.org.
© Scott Sneddon, Sesaya Arts Magazine, 2024
