Trinity College’s August production of Roald Dahl’s Charlie and the Chocolate Factory was a feast for the senses from the theatre’s exterior glowing Wonka purple, cleverly crafted costumes to the outstanding and innovative technical aspects, this production was bursting with colour, energy, and a palpable sense of joy. Under the skilful direction of Kristy Triantafilakis and Mel Lavis, this large-scale show struck the perfect balance between polished professionalism and heartwarming community spirit.
Caley Watt’s choreography was a standout, modern, creative, and executed with precision. The troupe of strong dancers shone in the more intricate sequences, but Watt also ensured the entire 42-strong ensemble of year 7 to 12 students had moments to sparkle. Emma Knights’ musical direction kept the band sounding tight and vibrant, while Triantafilakis’ vocal direction produced strong harmonies and confident singing across the cast.
Wendy Todd’s set design was one of the production’s major triumphs. From towering white stairs creating striking stage levels to pipes carrying moving sweets into buckets, every scene offered visual surprise. Projected imagery, tearaway curtains, and the slanted bed in the grey, cramped Bucket home showed an attention to detail that delighted the eye. Lesley Johnson’s props brought added magic. Glowing canes, a “magic bag” of delicious-looking wonders, and a wealth of clever factory creations. Even the audience were given prop streamers to join in the fun of celebrating their favourite characters. Angela Girgolas’ costumes cleverly used colour to tell the story: each child’s personality perfectly reflected in their hue. Violet’s vivid blue, Augustus’s warm orange, Veruca’s playful pink, Mike’s sharp green, and Charlie’s understated grey, while Willy Wonka and the Oompa Loompas dazzled in regal purple.
Jacob Heinze’s lighting design elevated the spectacle, from dazzling audience-facing blinders to precisely timed blackouts that allowed “magic” to happen before our eyes. The three proscenium arches glowing at the touch of a cane was pure theatrical sorcery. Projected stars and strobe-lit explosions added further wonder. Bryce Young’s sound design, while occasionally letting the band overpower some vocals, was otherwise expertly timed, particularly the inventive sound effects that punctuated key moments.
Marcus Roling’s Willy Wonka was charismatic, mischievous, and adept at using props to create moments of surprise. His chemistry with Chiara Puccini’s heartfelt Charlie Bucket grounded the show’s emotional core, with Alex Carpenter’s genial Grandpa Joe adding warmth and gentle humour.
Among the “golden ticket” children, Eliana Girgolas as Violet Beauregarde was electric her rendition of The Queen of Pop brimming with sass and vocal power. Georgia Gevers delivered an exceptional Veruca Salt, pairing outstanding dance with a sharp Russian accent; she especially shines in her featured numbers When Veruca Says and Veruca’s Nutcracker: Sweet!”. Josh Roberts’ Mike Teavee excelled in physical comedy, with flawlessly timed tumbles in wheeled shoes, while Leo Cabras’ Augustus Gloop was an endearing, accent-perfect delight. Parents provided their own standout moments, Michael Herewane as Mr Beauregarde’s live-filmed smartphone projections of his daughter in The Queen of Pop was a clever modern twist, Erin Doudle’s Mrs Teavee offered charming comic beats, and Elisha Johnson’s Mrs Bucket was all warmth and heart.
The ensemble was uniformly strong, well-rehearsed, committed, and endlessly entertaining. Memorable moments included Violet’s clever 4D “explosion” (with lighting, sound, and even a cheeky spritz of water), Veruca’s squirrel-led demise, a spectacularly illuminated Pure Imagination, and the jaw-dropping reveal of the glass elevator rising from the pit into the sky during The View from Here.
This was a production brimming with imagination, precision, and a clear love for storytelling. From the smallest prop to the grandest visual reveal, every element worked together to create an experience as magical and surprising as the factory itself. Trinity College’s Charlie and the Chocolate Factory was not just a school production, it was a golden ticket to pure theatrical joy.
