Oliver

Lionel Bart’s Oliver is of course an old favourite which never fails to draw the audiences and rarely fails to royally entertain. Bedford Marianettes production was no exception and certainly lived up to expectations.

I have watched with interest over the past few years as the group have learned how to master the limitations of this studio theatre, which they have now made their home at the Trinity Arts & Leisure Centre, and masters of it they have now certainly become. The basic set was a two-tier Victorian style bridge with arch, presumably London Bridge, with stairs/steps stage left leading to an overhead gantry/walkway over the top, upon which the band was also placed. The really clever bit however was a large mobile cube which quickly unfolded to depict the many other scenes throughout the show. It was so slick that when it was unfolded for the first time, to move from the workhouse to the Sowerberry’s funeral parlour, my initial reaction was where did that suddenly come from! Very well designed by Corin Eaton and Director Charlie Hammond and slickly operated by Stage Manager Steve Ward and his crew. My one proviso was the exposed band next to the overhead walkway, which in the main was fine, but when Sykes appeared the menace was slightly lost as he stared down onto the scene below with a background of band members. Perhaps a shield of some part of the walkway might have helped here..??

The set was well lit by Lloyd Gray, with some good use of spot lighting at various stages throughout, although some scenes could perhaps have been a little more varied, especially the more menacing ones, but of course the band’s exposed position didn’t help there.

Sound, often a problem in Am Dram musicals was on this occasion actually extremely well balanced by both Bram Walking-Lea and Simon Barker, and the balance between singers and band definitely favoured the singers who were all crystal clear throughout.

Costumes by Rosie Layton and Charlie Hammond and sourced from Looking Glass Theatre and Sharnbrook Mill Theatre were to the last cast member well thought out and period authentic. That said some could have been made a little scruffier and less pristine, but I understand obviously limitations and hire conditions do have to prevail.

The band under the musical directorship of Tim Brewster on Piano, with Matt Smith (Flute/Piccolo), Andy Stewart (Clarinets), Polly Gough (Bassoon), Chas Hutchings (Trumpet), Simon Cove (French Horn), Liz Schofield (Trombone), Tom Chaplin (Bass) and Dan Phillips (Drum/Percussion) really couldn’t be faulted and as good as any I have heard recently. Nice job guys!

Choreography by Molly McCarthy was wisely kept fairly simple and basic in the chorus numbers due to sheer number of people on a limited size stage, and certainly came more to life when less actors were involved and room to move became available. Numbers such as ‘Food Glorious Food’ and ‘Oom-Pah-Pah’ however were great fun and certainly caught the audience’s imagination.

Harry Budd, who can certain hold an impressive tune was a suitable and confident Oliver and Ben Mullan, a good foil as a cheeky chappie Artful Dodger.

Ian Howat was a refreshing change as Fagin, not for once trying to be a Ron Moody clone, preferring to play him beardless and without quite so much of the usually overdone Jewish accent. Once I got used to it he grew on me enormously. Brave decision, but one I think that paid off handsomely. Excellent rendition of his traditional well-known numbers, ‘Pick a pocket or two’ and ‘Reviewing the Situation.’

A welcome return to The Marianettes stage for Leanne Lyndsey White as Nancy who has lost none of her show stopping ability or that incredibly powerful voice. Another outstanding performance as usual. How that lady is not on the West End stage is beyond me, but she is certainly Bedford’s gain. Kate Brewster as her sidekick Bet gave her a run for her money in various numbers and their ‘Oom-Pah-Pah’ was a particularly delightful highlight, which brought the house down!

Mark Bryant as Bill Sykes brought evil to proceedings in spades, and he obviously revelled in the part. Loved the eye makeup, not sure about the 21st century hairstyle...?

Mine and, judging by their reaction the audiences favourite pairing was definitely Graham Breeze as Mr Bumble and Paula Frazer as Widow Corney. They were a comedy and acting duo worthy of their own show! Their timing, facial expressions and general laughter were absolutely sublime. His unfortunate loss of a sideburn and their reaction to it were both handled like a couple of pros and lapped up by an appreciative audience. Splendid stuff!

Sam Stevens and Rosie Layton were an excellent Mr and Mrs Sowerberry, ably supported by Grace Craddock as their daughter Charlotte and Connor Speight as the jealous Noah Claypole, who pops up again later as Mr Grimwig. The very experienced David Midlane gave us a very kindly Mr Brownlow, again ably supported by Tara Hutchins as his housekeeper Mrs Bedwin.

Well done to the adult chorus of Jill Hardman (also Old Sally), Bethan Soloman (Milk Seller), Aimee Opare (Strawberry Seller), Sam Stevens (Knife Grinder), Hashir Shaikh and Dan Shaw.

And a particular well done to the extremely well drilled and enthusiastic Youth Ensemble of Flynn Pointon (Charley Bates), Callum Bird, Isabella Cooper, Sophie Fletcher, Jodie and Sophie Hayden, Ava Rose-Grant, Emily Kidby, Georgiana Ljubojevic, Alice McDonald, Joseph Tyrrell, Lawrence Warner and Grace Wingerath. Well done indeed to you all.

Last but by no means least a very special mention to Hugo who was a perfect Bullseye. As the owner of one rescued bull breed type dog myself I take my hat off to BedsForBullies for their work with him and others like him.

Charlie Hammond in, as he told me, his directorial debut certainly dived in at the deep end with this one. If this is his first effort with such a large cast, a huge amount of logistics to deal with and to take on, in part a least, both set design and costumes he is either insane or a budding genius. But then he certainly obeyed the number one rule of directing - surround yourself with people who know exactly what they are doing. The show was well paced with some original tricks which he worked in well and it was a thoroughly entertaining evening which seemed to get better and better as it went along and was certainly well received by an appreciative audience, with a cast that were also obviously thoroughly enjoying themselves. A good start Charlie. I shall look forward to his future shows with interest.

Finally, many thanks to FOH Manager Mary Eaton for her usual welcome and hospitality and not to forget the superb G&T’s - in a tin!!! Much appreciated!

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