Ruth Agnew reviews Charlie and the Chocolate Factory, presented by Showbiz Christchurch, directed by Stephen Robertson, musical direction by Richard Marrett, based on the novel by Roald Dahl, with book by David Greig, music by Marc Shaiman and lyrics by Shaiman and Scott Wittman, at the Isaac Theatre Royal, Thursday 23 April 2026.
Charlie and the Chocolate factory is a Showbiz treat, hitting that sweet spot of entertainment that will delight both children and adult audiences.
For those of us born last century, this is not the Wonka world from your childhood, whether you met Charlie and Willy Wonka through the 1964 Roald Dahl book, or the 1971 film, Willy Wonka and the Chocolate Factory. This project originally began with Dahl writing the screenplay but ultimately used a ghost writer who changed significant parts of the story, and the film was ultimately disliked and disowned by Dahl. Comparisons between the later films adapted from the book (the 2005 film with Johnny Depp and Freddie Highnore and the 2023 prequel with Timothee Chalomet) find more similarities, with each sharing bright bold sets and characters, as well as dark undertones.
The show opens with a dazzling number that introduces the debonair chocolatier, Willy Wonka himself. Bryn Monk is brilliant in the role, resplendent in sequined suits, and managing to make Wonka’s machinations more mischievous than mean-spirited. His assured opening song, “Candyman”, is one of two songs taken from the original film, along with “Pure Imagination”. Both feature some of the best singing in the show.
Franklin Domigan as the titular Charlie Bucket matches Monk’s expertise and experience, a feat that barely seems fair to expect of a child. At 11 years old, the actor playing Charlie Bucket on opening night is the youngest of three boys sharing the role; Shepherd Brooks, 12, and Barnaby Domigan, 13 play Charlie on alternate nights. The role would be demanding for a trained professional adult, but Domigan makes it seem effortless. Honestly, this kid has buckets of talent. Domigan already has the kind of cv that would make a Dance Mom drool (as do the other two Charlies), with accomplishments including representing New Zealand in the World Hip Hop dance championship in Prague, acting in short films, and roles in Showbiz and Court Theatre shows (Kinky Boots, Fun Home, SpongeBob SquarePants, Appropriate and Frozen). However, this may be the most impressive performance of his short life thus far. His ability to shape a song and cope with complex harmonies (Charlie and Wonka’s final duet in “The View From Here”is a show highlight) is so solid he makes it seem easy (it isn’t!). His accent is flawless, and he plays Charlie with the exact right amount of hope and goodness necessary, without making the character saccharine sweet. When Domigan came out for his bow, entire sections of the audience rose to their feet to give this 11-year-old a standing ovation. Domigan is the ganache holding the layers of the show together, he is the delectable center in a gourmet bon bon, he is the hot fudge sundae AND the cherry on top.
Speaking of sundaes, Rebecca Boyce and Elijah Moore are fabulous in their pink pairing of Cherry Sundae and Jerry Jubilee. Warwick Shillito, as always, is outstanding as Grandpa Joe (who was out standing, walking and dancing despite having been unable to get out of bed for 40 years – I would have had more of an issue with this suspicious miraculous cure if there hadn’t been more heinous acts committed by other characters that made his seem minor). Anna Thomson plays Mrs Bucket with the right amount of pathos, although it seems those grandparents could do a bit more to help around the house, if they are agile enough to dance at a moment’s notice.
The ensemble is stacked with actors, singers and dancers whose names are more frequently next to lead roles in cast lists, creating a killer chorus. The Oompa Loompas are a clear crowd favourite, receiving audible reactions and applause every time they appear.
It’s always lovely to have an orchestra in the pit in the Isaac Theatre Royal, and even better when Richard Marrett is the Musical Director. If you’ve ever enjoyed a really remarkable musical in this city, chances are Marrett and / or director Stephen Robertson were the reason.
The design team deserves their own standing ovation, creating a magnificent multi-layered, colourful, textured Wonka world. This made use of the Isaac Theatre Royal’s height and decor in conjunction with rolling set pieces, backlit gauze and screen projections. The different design elements married together so well that it seems impossible to isolate any member of this team without naming the others. Well done to Harold Moot (set), Stephen Robertson (costume), Christy Lassen (props), Grant Robertson (lighting), Ben Rentoul (sound), and Dave Spark (video).
Now for the part that left a bad taste in my mouth. The musical version of Charlie is much more bitter than in other adaptations. The most significant way this is shown is that – spoiler alert – three of the Golden Ticket winners die. That’s right, those squirrels aren’t playing when it comes to bad nuts. They don’t just die, they are decapitated and drowned and blown up. Of course, Roald Dahl has never been one to shy away from the gruesome in his books, but I just can’t imagine reading the original book and deciding it would be a hit on Broadway if some murder of minors was added. There is a general undercurrent of nastiness running through this Chocolate Factory, with frequent fat jokes, name calling, addiction issues, troubling family dynamics and an increased gap in economic lifestyles. Showbiz had nothing to do with this added dash of sadistic cruelty, as it was a decision made by the producers and creatives behind the 2017 musical adaptation, but it would make me hesitate to bring younger children to the show.
The demise of the other ticket holders doesn’t seem to have any meaningful message either; Wonka keeps saying things like “lesson learned!”, but it is never clear what that lesson is. Don’t trust strange men who offer you candy, unless you’re an impoverished child with a heart of gold but morals flexible enough to ignore multiple deaths and health and safety violations on a factory tour? Maybe I’m a killjoy, but I find it distasteful and difficult to laugh at acts of violence perpetuated upon children, especially in the current environment.
If you’re prepared to overlook Willy Wonka’s more murderous tendencies, this show is a delight. It’s like Wonka says: “who cares how it’s made, as long as it’s good?”. So box up your concerns about portrayals of child cruelty and enjoy an evening where a child takes you to a magical world made of chocolate and talent.
Charlie and the Chocolate Factory runs at the Isaac Theatre Royal until Saturday 9 May 2026.
Flat City Field Notes 