This post compiles various media adaptations of Charlie and the Chocolate Factory (CATCF), including films, parody movies, operas, commercials, TV shows, musicals, ballets, and more.
Each entry includes a link and a brief description.
I'll continue updating this post as I come across new material.
If you spot any errors or missing information, I'd really appreciate it if you let me know!
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Another thing that stood out to me was seeing a single audience comment noting that the Japanese production of Charlie and the Chocolate Factory did not include the song “Strike That, Reverse It.” This number serves as a character introduction and contains a line that is iconic in the 1971 film. I have never heard of another production omitting it, so it was one of the more unexpected details for me.
I have never encountered this before and honestly could not have imagined it. Has there ever been a case anywhere in the world where Charlie and the Chocolate Factory was staged without performing “Strike That, Reverse It”?
I previously wrote about how surprising it was that the Japanese production of Charlie and the Chocolate Factory appeared to omit “Strike That, Reverse It,” a number that functions as a key character introduction and includes one of the most iconic lines from the 1971 film. At the time, I had never encountered another production that excluded it.
With the recent revival in Japan, I began to notice audience reactions describing a “new song” at the beginning of Act 2. Based on those reactions, it seems possible that “Strike That, Reverse It” has now been added or restored in some form. For viewers unfamiliar with the original musical structure, it may have felt like a completely new addition.
At the same time, other comments suggested that the number had indeed been cut in the original run, and that its absence may have affected the pacing of Act 2. While I cannot verify the exact production decisions, these responses together suggest that the song was not fully staged in the initial Japanese production.
For those familiar with the musical, “Strike That, Reverse It” is not simply an optional number. It introduces Wonka through wordplay, echoes the 1971 film, and helps reorient the audience at the start of Act 2 after the intermission. Its upbeat structure and integrated character moments also help re-engage younger viewers, which is especially important for a family-oriented work.
Given this, its absence in the original run raises questions about how the production was structured at the time. One possible interpretation, based on audience recollections, is that elements of the scene may have been retained in spoken form or as instrumental accompaniment rather than as a full musical number. However, that remains speculative.
More broadly, I feel this reflects a larger issue in how the production was approached. Charlie and the Chocolate Factory is fundamentally a story for children and families. Decisions about staging, pacing, and presentation play a crucial role in maintaining that focus.
For this reason, I continue to hope that future Japanese productions of this musical will be developed by a different production team with a stronger emphasis on its identity as a family-oriented work, ensuring that both the structure of the piece and the audience experience are aligned with its original spirit.
I'm making a ton of Mii Wonkas in the Tomodachi Life: Living the Dream demo… I've even been restarting on my sub-account and stuff… I really want to have a bunch of Miis ready to go…
Commentary on the Website Structure of the Japanese Production of Charlie and the Chocolate Factory
This post refers to an article I previously published on January 10, 2026. In that article, I discussed the structure of the official website for the Japanese production of Charlie and the Chocolate Factory.
Tumblr is a place to express yourself, discover yourself, and bond over the stuff you love. It's where your interests connect you with your
Since the website appears to have been updated, I would like to explain what the site looked like previously and clarify why I made the comparisons included in my earlier post.
Archived versions of the Japanese production website
The official site for the Japanese production displayed the following structure.
First, a large promotional image appeared.
Next, photos of cast members were displayed. These were publicity photos without costumes or stage makeup.
The order was:
Willy Wonka
Mrs. Bucket
Mrs. Gloop
Mr. Beauregarde
Mr. Salt
Mrs. Teavee
Grandpa Joe
After this section, the font size became slightly smaller, and the following characters were listed:
Charlie Bucket
Augustus Gloop
Veruca Salt
Violet Beauregarde
Mike Teavee
No photos of the child actors were displayed.
Below this, the font size became even smaller, and the ensemble performers were listed by name.
After that, the creative staff were listed in the following order and with the same font size:
Book: David Greig
Music: Marc Shaiman
Lyrics: Scott Wittman / Marc Shaiman
Original work: Roald Dahl
Songs from the motion picture: Leslie Bricusse / Anthony Newley
Finally, the ticket and schedule information appeared.
Ticket prices were listed as:
S Seat: 16,000 yen
Annotated S Seat: 16,000 yen
A Seat: 10,000 yen
These prices appeared unchanged from the initial run. There were no discounted family ticket options shown.
The descriptions above are based on archived versions of the website.
Initial announcement archive (March 2023):
ミュージカル『チャーリーとチョコレート工場』2023年10月 帝国劇場にて上演決定!
At the time of the initial announcement, the site showed only a poster image of the Japanese Willy Wonka actor and listed only that actor’s name.
Later archived versions showed the expanded structure described above:
First run archive (2023):
ミュージカル『チャーリーとチョコレート工場』2023年10月 帝国劇場にて上演決定!
Revival announcement archive (2025):
ミュージカル『チャーリーとチョコレート工場』2026年3月ウェスタ川越、4月日生劇場にて上演決定!
Comparison with another musical website by the same organizer
For comparison, it is helpful to look at another musical site organized by the same company.
ミュージカル『ジョジョの奇妙な冒険 ファントムブラッド』2024年2月 帝国劇場にて上演決定!
On the website for the musical adaptation of JoJo’s Bizarre Adventure, the structure is different.
First, a key visual image appears.
Next is an Introduction section explaining what the musical is based on (JoJo’s Bizarre Adventure) and how the stage adaptation was developed.
After that is a Story section explaining the narrative of the original work.
Then the cast photos appear. These photos show the actors in costume and makeup.
The order begins with characters such as:
Jonathan Joestar
Dio Brando
Erina Pendleton
Next comes the Creative section.
In this section, the original author’s name appears first and in the largest font size, followed by other creative staff such as director/choreographer and composer.
After that comes the Ticket & Schedule section.
Ticket prices include several tiers:
Weekdays:
S Seat: 16,000 yen
A Seat: 10,000 yen
B Seat: 5,000 yen
Weekends and final performances:
S Seat: 17,000 yen
A Seat: 11,000 yen
B Seat: 6,000 yen
Differences in structure
One notable difference is that the Japanese Charlie and the Chocolate Factory site originally did not include an Introduction or Story section at either the initial run announcement or the revival announcement.
In contrast, the JoJo’s Bizarre Adventure musical site clearly explains both the source material and the story before presenting the cast.
Without those explanations, visitors unfamiliar with the story may not immediately understand what the production is about. From my perspective, this creates a different emphasis in how the production is presented.
Differences in cast presentation
The format used to introduce cast members also differs.
On the Charlie and the Chocolate Factory Japanese site:
Actor photo
Character name (e.g., Willy Wonka)
Actor name
The character name is displayed in slightly smaller font than the actor’s name.
On the JoJo’s Bizarre Adventure site:
Character name
Character description
Photo of the actor in costume
Actor name
Below this is a “COMMENT & PROFILE” button. Clicking it reveals the actor’s comment about the role and their profile. The information remains hidden unless the button is clicked.
Character listing order
Another point of comparison is the order in which characters are listed.
For example, in a Belgium production of Charlie and the Chocolate Factory:
The cast order appears as:
Willy Wonka
Charlie Bucket
Grandpa Joe
Mrs. Bucket
Mr. Beauregarde
Violet Beauregarde
Mrs. Teavee
Mike Teavee
Mr. Salt
Veruca Salt
Mrs. Gloop
Augustus Gloop
This order may feel natural to readers familiar with the original story.
In the Japanese production website, however, adult characters appear first and the child characters appear later in the list.
Because child actors change over time as they grow older, the production will naturally replace them with new performers in future runs.
One possible interpretation is that the website format makes it easier to update names without needing to replace photos. This is only my speculation based on how the site is structured.
Creative credits
Another difference can be seen in the creative credits.
On the JoJo’s Bizarre Adventure site, the original author is prominently placed first in the creative section.
On the Charlie and the Chocolate Factory Japanese site, the original author’s name appears after the book, music, and lyrics credits:
Book: David Greig
Music: Marc Shaiman
Lyrics: Scott Wittman / Marc Shaiman
Original work: Roald Dahl
The font surrounding the original author’s name also appears visually smaller within the layout.
My interpretation
Because these two musicals are organized by the same company, the differences in website structure stand out.
To me, one presentation appears to place stronger emphasis on the actors, while the other emphasizes the source work and story.
This is, of course, my personal interpretation of how the information is presented.
Recent updates to the Japanese site
The Japanese production website now appears to have been updated.
ミュージカル『チャーリーとチョコレート工場』2026年3月ウェスタ川越、4月日生劇場にて上演決定!
An Introduction and Story section have now been added.
However, in my view, the broader issue I raised previously relates to the overall direction of the production and whether it is designed primarily as a family-oriented theatrical experience.
For a story like Charlie and the Chocolate Factory, which is fundamentally a children’s story, accessibility for families and a welcoming environment for younger audiences may be especially important.
Personal perspective
This musical has been performed by many actors around the world. No single performer permanently defines the role.
Just as actors playing Charlie eventually grow up and are replaced, Willy Wonka is a role that can be interpreted by many different performers.
For that reason, I personally prefer productions that focus primarily on the work itself and its literary origins, rather than centering the production around any single performer.
Final thoughts
Although the website has been partially updated, I feel that the underlying concerns I raised remain unresolved.
Ultimately, I hope that future Japanese productions of Charlie and the Chocolate Factory may place stronger emphasis on its nature as a family-oriented work of children’s literature and create an environment where a wide audience can enjoy it.
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Why I Will Not Promote the Japanese Production of Charlie and the Chocolate Factory
Content note: This post discusses sexual abuse allegations, harassment directed at a minor, and distressing fan behavior.
Charlie and the Chocolate Factory is a children’s book, adapted into a family musical. I believe it should be produced and presented with children and families as its primary audience.
For me, the Japanese production failed to meet that standard for three interconnected reasons: the involvement of a major idol agency with a serious and unresolved abuse scandal in its history, harmful fan behavior tied to that involvement, and production, marketing and ticketing choices that prioritized adult idol fandom over families and children.
Background: the agency and public controversy
In 2023, extensive reporting and investigations brought long-standing allegations against the founder of a major Japanese idol agency into the open. Multiple survivors came forward with allegations of sexual abuse of minors. The agency acknowledged the abuse, issued public apologies, and established a compensation process. An independent review also documented systemic failures beyond a single individual.
A team investigating sexual assault allegations against the late founder of a talent agency for boy bands says it has found the charges cred
As part of this process, the company later renamed itself SMILE-UP. This decision followed intense criticism at a press conference, where journalists questioned whether continuing to use the founder’s name showed a lack of consideration for victims. A separate victims’ relief company was created, and as of late 2025, the official relief committee reports that more than 1,000 compensation claims have been submitted.
These facts are not abstract background to me. They were widely reported, ongoing, and unresolved at the time the Japanese production opened in October 2023. I find it deeply troubling that a musical aimed at children and families became financially and publicly connected to a company in the midst of such a process.
Timing of the production and my concerns
The Japanese production premiered while daily news coverage and public debate about these abuses were still unfolding. Given that timing, I hoped for extreme care, restraint, and sensitivity in how the production was framed and received.
Instead, some fan reactions were alarming. Certain posts explicitly linked the musical to the late founder’s legacy, framing the production as a form of symbolic succession or homage. Seeing a children’s story used in that way, during such a period, was deeply upsetting.
Problematic fan behavior and harm toward a child performer
After the premiere, some fans publicly compared characters and themes in the musical to real individuals associated with the agency. Other posts used the performance dates and even the agency’s renaming as occasions for celebratory hashtags that, to many observers, appeared dismissive of survivors.
More seriously, a child actor who played Charlie later received harassment online after posting that he had attended a concert by the lead actor. Some fans speculated that he had received special treatment and directed hostile messages toward him. This incident was reported by the media, and the lead actor publicly condemned the harassment and defended the child.
The fact that a child performer became a target of adult fandom hostility is something I cannot overlook. For me, this demonstrated that parts of the surrounding fan culture treated the production as an extension of idol fandom, not as a family-oriented work meant to protect children.
Promotion, presentation, and ticketing choices
The production’s official promotion placed the lead performer overwhelmingly at the center. The original author’s name and the children’s roles were given reduced prominence in posters, websites, and promotional materials. Story explanations were minimal, and visual emphasis consistently favored the star rather than the ensemble or the child characters.
Ticketing practices reinforced this impression. Sales prioritized fan club presales, and ticket prices were set at high, fixed tiers with no lower-cost options typically aimed at families, children, or school groups. In effect, the structure favored adult fans with disposable income over families, the very audience this story was written for.
When compared with other productions, including family-oriented campaigns abroad and even other Japanese musicals that clearly foreground their source material and ensemble, this imbalance became even more apparent.
A special website for another musical production by the same company:
ミュージカル『ジョジョの奇妙な冒険 ファントムブラッド』2024年2月 帝国劇場にて上演決定!
catcf jp musical website:
ミュージカル『チャーリーとチョコレート工場』2026年3月ウェスタ川越、4月日生劇場にて上演決定!
(Examples of family friendly campaigns from other productions were visible online.)
Because of the agency connection, the fan behaviors I witnessed, and the production and sales decisions that consistently deprioritized children and families, I cannot in good conscience promote this Japanese production to other fans of Charlie and the Chocolate Factory.
I would like to see this work staged in Japan by a different production team—one that genuinely understands the spirit of the original book, centers children and families, protects child performers, and presents the musical as what it is meant to be: a story for children, not a vehicle for adult idol fandom.
Sources and further reading
Johnny Kitagawa: J-pop agency boss resigns over predator's abuse
The CEO finally acknowledges the rampant sexual abuse committed by industry titan Johnny Kitagawa.
Johnny Kitagawa's sexual abuse: Japan's worst kept secret
For decades, sexual assault accusations marred his career - and for decades, the media failed to investigate.
Johnny Kitagawa: Hundreds seek compensation over J-pop agency founder's abuse
More than 300 people seek compensation for being sexually abused by the late Johnny Kitagawa.
To put it bluntly, I don't want the Japanese version of the CATCF musical to be revived ever again, and if it is, I hope it's done by a different production company, with different actors, and created by a team that actually understands this work was made for children and families.
I want to add a personal note. The thought of the same producer and the same Wonka actor bringing this production back causes me such strong distress that it affects my health. Seeing images or posts connected to the show triggers panic symptoms: my heart races and I start to sweat uncontrollably. I responded to a question earlier because I wanted to be helpful, but afterwards I regretted replying and removed my answer.
To put it bluntly, I don't want the Japanese version of the CATCF musical to be revived ever again, and if it is, I hope it's done by a different production company, with different actors, and created by a team that actually understands this work was made for children and families.
Another thing that stood out to me was seeing a single audience comment noting that the Japanese production of Charlie and the Chocolate Factory did not include the song “Strike That, Reverse It.” This number serves as a character introduction and contains a line that is iconic in the 1971 film. I have never heard of another production omitting it, so it was one of the more unexpected details for me.
I have never encountered this before and honestly could not have imagined it. Has there ever been a case anywhere in the world where Charlie and the Chocolate Factory was staged without performing “Strike That, Reverse It”?
The news that the Japanese version of the musical "Charlie and the Chocolate Factory" will be restaged by the same company with the same actors fills me with deep disappointment. I feel absolutely terrible about this.
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🎉 Happy 20th Anniversary to Charlie and the Chocolate Factory (2005)! 🍫🎩🍭
(Released in the U.S. on July 15, 2005. The UK and Japan followed on July 29 and September 10.)
I didn't have time to draw anything for the anniversary, but I couldn't let this day pass without saying anything.
It might be a small thing, but Osomatsu-kun started in the 1960s, just like CatCF, which was first published in 1964. That nostalgic link inspired me to rush this little parody together.
・Tuacahn Amphitheatre の公演では、「When Veruca Says」の一部がショート動画として投稿されていました。
その中で、もともとのブラックジョークだった「Veruca: Daddy! / Mr. Salt: Yes? / Veruca: Buy me North Korea!」のセリフが、
「Veruca: Daddy! / Mr. Salt: Yes? / Veruca: Buy me Warner Bros.(※“brothers”かもしれませんが、うまく聞き取れませんでした)」に変更されており、個人的にはこちらのほうが好みだったのが印象的でした。
・以下は、TikTokに投稿された実際の公演の一部を切り抜かれた公式ショート動画です。
・Tuacahn Center for the ArtsとFulton Theatreでは、同じコスチュームデザイナーのRyan J Mollerが手掛けています。
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