Oliver!

An ever-popular show, but how would this company shoe-horn such a large cast production onto such a small stage, the answer was by making use of the auditorium. Some of the action and many of the entrances and exits were through the auditorium, which brought the action closer to the audience, but I am not sure if everyone could see everything. Several of the exits were used to very good effect, as when Mr Bumble took Oliver from the Workhouse singing ‘Boy for Sale’ allowing the set to be changed to that of Mr Sowerberry the undertaker.  

The sets as always, were beautifully designed and painted with great attention to detail, but I felt the colours were too bright for this very dark story. You always make every effort to transport your audiences to the heart of the action with your sets, but I think on this occasion a little less would have kept the story flowing better. I am sure the audience would have used their imagination. It was a good idea to have your stage crew in costume, as they blended in well. The props and furniture had all been well sourced and added to the show, especially in Fagin’s Den. The lighting had been well designed and cued, it was lovely having the static spots on stage for the solos, but they were a bit pink. I liked the way you managed to light the auditorium when it was used as part of the action, as so often that is something that is forgotten and the audience cannot see what is happening, we would have missed what all those talented children were doing.

The costumes were of the period with the workhouse ‘uniforms’ suitably dingy.  Hair and make up worked well apart from one thing and this is a comment I frequently make when reporting on Oliver!, everyone was far too clean. There was very little contrast between the faces of the Fagin’s gang and the more affluent Brownlow household.

The show had been well cast with strong performances. The roles of Oliver, Artful Dodger and Charlotte Sowerberry had been double cast, and the Oliver I saw was Timothy Mitchell who gave a mature performance bringing both sensitivity and feistiness to the role. Alexander Morris ably matched him, as the Artful Dodger and they worked well together. Phil Savage as Mr Bumble and Gillian Olewicz as Widow Corney made an excellent duo; he with his self-importance and disillusioned hopes of a happy marriage, and she with her ruthless, conniving ways. Their duet ‘I Shall Scream’ was well timed, well executed on the small area of stage on which they had to perform and very funny, with Bumble peering round her waving his white flag of a handkerchief to attempt to remove her from his lap. The Sowerberries were suitably gruesome, with Richard Newley, as the henpecked husband and Lesley Clarke, the waspish wife, complimenting each other well. Annabelle Leicester gave a nice performance as Charlotte, but I felt she was a little young for the part. Callum Mortlock gave a mature performance as Noah Claypole, the undertaker’s apprentice, lording his elevated position over Oliver by bullying him and showing off in front of Charlotte. The fight between Noah and Oliver was well choreographed.

Mike Jones as Fagin commanded the scenes in the thieves kitchen and sang and acted well, although there were times when he slipped into being everyone favourite uncle, rather than the wiley old fox leading the youngsters into a life of crime.

Louise Tofts gave a very strong portrayal as Nancy bringing great poignancy to ‘As Long as He Needs Me’ and in the words of Fagin ‘was wonderful, what an actress’ and gave support to Maedene Webb as Bet. They worked well together creating a good bond and some lovely moments in ‘I’d Do Anything’ and ‘ Oom-Pah-Pah’. Dan Phillips was suitably menacing as Bill Sykes, creating fear and friction in the scenes with Nancy and Fagin. Those in the Brownlow Household created a complete contrast to everything Oliver had experienced previously; it was a welcome oasis after his previous hardships. The young cast doubling up as orphans and Fagin’s gang sang, danced and acted their way through the show with discipline and gusto. The small adult chorus, who were reinforced by principals when not required in their roles, contributed greatly to the overall success of the show.

Choreographer Jill Harris had put the company through their paces and created lively dance numbers within the constraints of this small stage. Everyone performed their routines with energy and enthusiasm. Musical Director Chloe Allsopp-Jones had once again produced some excellent singing from the cast, who were ably supported by the three-piece band. The soloists all sang clearly and with feeling. The first Act of this show has so many songs, dance routines and movement for the children it requires much time from the choreographer and MD working together for a polished performance. Everything came together well. Director Linda Evans had used the limited space carefully, and encouraged her enthusiastic team to give of their best, to entertain an appreciative audience.

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