Oliver!

Lionel Bart’s Oliver! might just be the most well-loved British musical of all time, and for good reason: it’s got it all, from a bit of a mystery, lots of children, a battle of good against evil, cracking songs, love gone wrong, and to a (mostly) happy ending. 

Today, given the heightened focus in the UK on putting a halt to both people trafficking and the domestic abuse of partners and children, there’s perhaps increased recognition by audiences of the many different levels of darkness of Oliver! That’s despite the ironic cheeriness of songs like “Consider Yourself,” “It’s A Fine Life” and “Oom Pah Pah”. Again – there’s something for everyone in Oliver!

The plucky Hockwold Amateur Theatrical Society (HATS) recently revived Oliver! for its Spring production, demonstrating once again an indomitable ‘the show must go on’ approach and flashes of brilliance that have earned it a loyal following and tonnes of good will in its community. Tracey Askew directed.

The company’s pluckiness was manifest in its young Oliver, played with solemn gravitas by the sweet-faced, sweet-voiced Madeleine Davis. For this little performer, a major acting challenge throughout the show was pretending to stay a few steps ahead of other characters who had to be chasing her around the diminutive stage. To her credit, she succeeded most of the time!

Entertaining comedic moments were provided by the hard-working and funny Sue Perry in a memorable turn as the Widow Corney and Gary Sander, a natural fit in the role of Mr Bumble complete with gorgeous mutton chops and an air of unshakeable pomposity. 

Andrew Gookey was a shaggy, creepy Fagin – albeit a little too well-washed and clean! – with Ashley Sismey a suitably threatening Bill Sykes, sadly minus his canine companion, Bullseye. As the doomed good-time girl Nancy and paramour of Bill Sykes, Viv Morris’s interpretation created a character nearly as fearsome and threatening as Sykes himself – one wondered early on if Nancy would get the better of Sykes in this production in their dance of death on London Bridge.  

In other roles, Megan Askew was a pixie-like Artful Dodger, David White successfully navigated several parts including Mr Sowerberry, Mary Sullivan exuded maternal warmth and comfort as Mrs Bedwin, and the twinkly-eyed Finley Peckham was a charming and mischievous Charley Bates.  Kudos to Vanessa Wilkens and Ben Sullivan for their sung contributions.   

Unfortunately, two young girls in featured speaking parts were so softly spoken they could not be heard a few rows back in the audience. 

A key ingredient in HATS’s success is its costumer Carol Haigh, along with her four-woman sewing crew. Sumptuous, beautifully tailored costumes captured the looks of the time, and suited each character precisely. Fagin’s long green coat, the orphans’ little suits, dresses worn by the flower sellers, and Mr Bumble’s ensemble provided just a few examples of the deft artistry at work here.

Another fine technical success was the London Bridge backdrop, which was seen only in the show’s final moments, but provided a spookily atmospheric setting for the show’s climax. Fog added to the effectiveness.

It can’t be emphasised enough that HATS deserve a loud round of applause for their approach to diversity and inclusiveness. This group has the best track record for onstage D&I that I’ve seen. Keep up the great work. 

HATS’ Oliver! delivered an enjoyable afternoon of entertainment. 

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