Oliver

What an exciting night for the very first night of your first musical (after three very successful pantomimes) and congratulations are in order for moving up a gear to tackle a full scale musical with such a dash: Caroline Foot deserves praise for taking on the project and making such a success of the enterprise.

Scenic Projects also deserve praise for squeezing an ‘Oliver’ set on to the Carnegie stage, and the stage crew for coping with changes furniture and props with no wing space available.

With all those children from the successful pantomime just queuing to be in the cast, we knew that casting would not be a problem in the junior stakes; interesting that you recruited so many new members to expand the group with the interest in being in a musical, so success on all fronts. Of course those orphans stole the show in the opening sequence, and indeed they should.

Jack Jenkins in the title role (and after his appearance in Peter Pan) had excellent projection and singing voice, nice personality and thoughtful style for the part, (good ‘Where is love) and at 13 years has great potential for the future (understand he had grown like a weed since the auditions!). And as his sparring partner in the action, Harry Smith as Artful Dodger had it all and stole all attention throughout, vocally and movement perfect, and mega-personality just shining through, this was a performance to demand accolades and watch with eager anticipation for the future, certainly the star performance of the show.

Strong singing and good comedy timing in the Corney Parlour with Andy Cunnell as a large impressive Mr Bumble and Emma Kelly holding her own and dominating him as Widow Corney, and vocally good also doubling as Strawberry Seller. Into the Sowerberry Parlour for Phil Pearson (remembered from pantomimes) looking very solemn with Georgina Huish and Charlie Jeffries in support.

A nicely played Fagin from Craig Plumley, not too over the top comedy but restrained and working very well with the rest of the cast, nice ‘Reviewing Situation’, good with youngsters and young adults alike. And to the young adults who were such an asset to the group: Nancy, Bet and Bill Sykes all played by those just leaving Sixth Form and starting College, and how good they were and what future potential. Madeline Soan had great looks and style and personality, (perhaps not lived life enough for all the characterisation interpretation), a great future as she moves to college in September, and huge vocals to put

over her numbers. Charley Wilson as Bet was not just a support but a character and personality and voice with a great future. And doubling Noah Claypole with Bill Sykes, and a good exchange of characters, Thomas Chamberlain just dominated in the wickedness of the villain and enjoyed every moment of badness with another strong voice. Nice little cameo from Burtie Welland as Mr Brownlow after his appearance with Methwold in drama at Hunstanton recently

But overall the main impression was of a great company show full of energy and enjoyment and camaraderie with team spirit: what a way to begin another section into the society, and I wish you well for the future with this new venture.

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