In these gloomy days of wanton mergers n’ murders in the education sector and the destruction of our favourite buildings from the Four Aves inward; fun, frivolity and boobs were just what the chocolate manufacturer ordered for Christchurch.

In the abstract, Ayla’s Angels promised an “eccentric, wonderful adventure into the surreal world of Couture Candylands”, with performances ostensibly attached to the narrative of everyone’s childhood favourite Charlie and the Chocolate Factory. Potentially a disturbing premise – the sexualisation of characters loved by children can be pretty uncomfortable – but the casually filthy repartee of the brilliant Milly Wonka as MC saves us all. She also keeps the crowd in the loop regarding the narrative which at times veers into the obscure.

The characters are recognisable but somewhat more sordid than the images recalled from reading the novel as a ten year old. After a couple of group numbers and a slightly incongruous appearance from Mullet Man as the Candy Man (luckily he’s endearing and wins us over immediately) we enter the Chocolate Room and meet the first of the bad kids: Augustus Gloop. Can you imagine a more difficult character to tell a sexy story about? The Angels pull it off – literally – with aplomb, through the unexpected integration of props. They collect Gloop’s items on trays as she downsizes and leaves the audience craning for a peek with the clever use of fruit platters and a cushion-shaped lollipop.

Violet Beauregarde, who in the story swells up after her illicit consumption of untested chewing gum, finds herself in a more adult state of tumescence in this version. Ruby Ruin cleverly inflates her purple satin dress, true to the story, and removes it, finding herself as an engorged phallus rather than a blueberry. To the Juicing Room anyone? Well that’s what we expect after she retires backstage with the help of an attractive Oompa Loompa to the tune of Beat It, but instead she returns to finish the number in a black vinyl getup. This is one of the transitions that could have been smoother, but the connection does reveal itself eventually: Violet Beauregarde is definitely Bad to the Bone. Bad to the demanding, entitled bone. Er.

Veruca Salt’s petulance and avarice are cleverly communicated through Harlow LeStrange’s body language and fantastic costume. Deemed a ‘Bad Nut’ by Ruby Ruin and her wooden paddle, she makes us all want to be sent down to the Nut Room. Her flashing fluorescent hula hoop, obvious skill and carefully choreographed routine have the audience enthralled.

MC Milly Wonka keeps us on task during costume changes with charming vulgarity, reaching into her “box” for a “sweet treat” to reward winners of the Tits n’ Ass game. Having an accomplished live band performing all the music provides opportunities for banter between MC Milly and Mullet Man, and glosses over a few glitches in running order.

A stilt-walking, straitjacket-wearing Mike TV adds to the circus element of the show and delights with his deadpan diablo routine.

The character that bears the least resemblance to their original, but ends up the most welcome departure, is Charlie (once we realise who she is supposed to be). Not the slightest hint of the earnest, bookish boy who we desperately wanted to win in the story, but a mystery shrouded in black satin. Bonita Danger Doll’s routine is by far the most impressive – flawlessly rehearsed and in a pearl-draped costume so beautiful that it seems a shame to remove. She maneuversd ostrich feather fans with ballet-like grace to close the story. And then Mullet Man closes it again “on a high” with his gigantic unicycle – an even more nerve-wracking performance indoors with a full set behind him and intoxicated volunteers helping him up there.

These individual pieces are interspersed with group performances that at times don’t fit with the narrative and could use more polish in terms of timing. If the girls had showcased their differences, rather than trying to match each other, they might have been more effective. A few nonsensical transitions have us glancing quizzically at each but overall the feel is casual, cabaret and distinctly Kiwi, thanks to the laconic interjections from Mullet Man and MC Milly Wonka. Indeed a surreal and eccentric journey with much more audience interaction than anticipated (I made the Tits n’ Ass finals!)

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