It’s been a little while since we last reviewed a production by the Peterbrook Players, so it was a genuine pleasure to be welcomed back to the The Core Theatre for their run of Charlie and the Chocolate Factory the Musical (14th–18th April). Happily, this return visit proved well worth the wait—and at times, it really had to be believed to be seen.
Synopsis
(If anyone needs it!) Based on Charlie and the Chocolate Factory, the story follows young Charlie Bucket, a kind-hearted boy from a struggling family, who dreams of something more. When the elusive Willy Wonka launches his golden ticket competition, Charlie finds himself stepping into a world of pure imagination inside Wonka’s factory. Alongside a group of wildly different children, he embarks on a magical journey where greed, pride and excess are tested—and where kindness quietly wins through.
Under the direction of Paula Whitehouse—who also took on musical direction and the role of Mrs Gloop—it’s hard not to be impressed by just how much she had on her plate. And yet, none of it felt stretched. The production had a clear, confident identity throughout.
At the centre of it all was Matt Barnard as Willy Wonka, delivering a performance full of mischief and quiet control, always with that essential twinkle that keeps you guessing. He really embodied the role—no small task, as so much of the production rests on Wonka’s shoulders—and he didn’t disappoint.
Oisin Kelly gave us a Charlie Bucket full of warmth and sincerity, never overplayed, and all the more effective for it. You believed in him completely.
Danielle Pancheri as Mrs Bucket brought real heart to the role, grounding the story with a sense of resilience and care that gave Charlie’s journey emotional weight. A lovely voice too—if anything, you just wanted to hear more of it.
Iona Cameron’s Augustus Gloop was packed with character and comic timing—honestly, a real scene-stealer at times. Augustus was fabulous.
Amellia Bickerton played Veruca Salt with just the right level of entitlement—spoilt, sharp, and very watchable. The singing and dancing were spot on… just best to stay away from squirrels.
Annie Stephenson brought great energy to Violet Beauregarde, capturing that driven, competitive edge while still keeping it playful. And getting to perform alongside her dad added an extra layer of charm that really worked.
Jacob Young’s Mike Teavee was confident and well-judged, leaning into the character without pushing it too far. Great job Jacob.
Rob Jervis as Mr Salt provided a solid, amusing counterpoint to Veruca’s demands, while Michael Stephenson as Mr Beauregarde had a natural ease—again, made all the more enjoyable sharing the stage with Annie Stephenson.
Anne Gifford as Mrs Teavee complemented Mike’s performance nicely, creating a believable and engaging dynamic… though you do find yourself wondering what exactly was in that hip flask.
Andrew Alton gave Grandpa Joe a warmth and gentle charm that made him instantly likeable, guiding us through Charlie’s world with ease. Lovely singing and movement too—it’s a great role, and in many ways a more challenging one than it first appears. Really well handled Andrew, a performance to remember.
Alongside him, Alison Tumber (Grandma Josephine), Annette Whalley (Grandma Georgina), and Nick Tickner (Grandpa George) created a delightful family unit, full of humour and affection. The little details—holes in socks, reactions to the cabbage surprise—were nicely observed and added a lot of smiles.
Melissa Goode added sparkle as Cherry Sundae, while Jude Maskell made Jerry Jubilee genuinely likeable and engaging. Both were a real hit with the audience—and it’s easy to see why. It’s always great to see performers in smaller roles really grab their moment and make it memorable.
Talking of which, a special mention must go to Ann Bloomer, whose Mrs Green had the audience laughing out loud with her wonderfully odd “Vegaball” creations—mouldy or otherwise.
What really elevated this production, though, was its sense of spectacle. The singing and dancing were consistently strong—full of energy, well-rehearsed, and confidently delivered. Abi Harvey’s choreography kept everything moving and visually fresh, while Jonathan Clarke held it all together musically.
There were also moments that genuinely surprised. The glass elevator didn’t just suggest movement—it actually lifted clean off the ground, drawing a real reaction from the audience. The staging felt alive: electronic, fluid, constantly evolving to pull us into the action rather than simply presenting it.
The ladder sequence, is a good example, stood out—creative, slightly daring, and executed with confidence. One of those moments that sticks with you afterwards.
Behind the scenes, Adam Tullett and the technical team clearly worked tirelessly to keep everything running smoothly, despite the scale and ambition of the piece.
And then there was the ensemble—too many to name, but absolutely essential. Their commitment, energy, and versatility gave the production its real sense of scale, filling every moment with life.
This was a production full of imagination, confidence and genuine joy. At times bold, at times surprising, and always engaging—it didn’t just tell the story, it pulled you right into it.
A very welcome return to Peterbrook Players—and hopefully not the last. Now… where’s my golden ticket?
Reviewed by – David T
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