Oliver!

The Redditch Palace Theatre took a trip back in time to Dickensian England with Top Box Studios and their production of Lionel Bart’s Oliver!  This is one of my favourite musicals, featuring a classic story and a string of knockout songs.  Could the Top Box team consider themselves successful?  Well, I have reviewed the situation, and the answer is a resounding yes!

Oliver!, of course, tells the story of orphan boy Oliver Twist, whose journey leads him from the workhouse to a funeral parlour, and then on to the murky underworld of Victorian London.  There is a happy ending, though, as Oliver is rescued not once, but twice, by kindly Mr Brownlow who, improbably, turns out to be his grandfather.  Along the way we meet a wonderful range of characters, most particularly the famous trio of Fagin, Nancy and Bill Sikes.

The show got off to a great start, as Top Box’s young cast of orphans threw themselves into a fun rendition of ‘Food Glorious Food’.  Then came Oliver’s nervous request for more, and it wasn’t long before Mr Bumble (Chris Stroud) and Widow Corney (Sam Taylor) were plotting to be rid of him.  I didn’t have the best view of this scene, as the furniture was positioned a little too far to the side of the stage, but there was a good chemistry between the two and I enjoyed their portrayals.

Oliver was well portrayed by Alexander P., who had a sweet singing voice and plenty of energy, which was a good job as he spent a lot of time being chased around the stage!  He was particularly good in the madcap scene at the funeral parlour run by Mr Sowerberry (Callum Wright), giving as good as he got in the tussle with Noah Claypole (Kieran Teague) and Rosanagh Jeffs’ nicely belligerent Charlotte. 

As the story moved on to London, we met The Artful Dodger, played with good characterisation by Brody H, and the rest of the gang at Fagin’s den.  Tom Bowes was a confident Fagin, played with a clear nod to Ron Moody’s film version both in terms of voice and physicality.  He had a very good rapport with the children in his gang, and delivered the songs well, with ‘Reviewing the Situation’ a particular highlight, showing Fagin’s desperation as it all went south. 

As Nancy, Kelly Mitchell showed off a strong singing voice and good movement, nicely bringing out the character’s dilemma as she must choose between helping Oliver and her love for Bill Sikes.  The showstopper ‘As Long as He Needs Me’ received a deserved ovation.  She was well complemented by Paula Lilburn as best friend Bet, particularly as they sang of a ‘fine life’.  Jon Laight was genuinely menacing as Bill Sikes, bringing a real edge to the role and making the famous scene at London Bridge particularly tense. 

It was nice to see a couple of members of the Top Box creative team popping up on stage, as Lucy Traves turned in a great comic role as undertaker’s wife Mrs Sowerberry, and George Evans was almost unrecognisable beneath greyed-up hair as the benevolent Mr Brownlow. 

The young ensemble cast did a great job in portraying the orphans, urchins and pickpockets that populate the story, some of them also popping up to great effect as tradespeople during ‘Who Will Buy?’.  This young cast really grew in confidence as the performance went on, strongly acting their roles and maintaining concentration throughout.  Well done to all of them.

The show was ably directed by Top Box leaders Tracy Anne Wright and Georgie Pearce (who also took care of the choreography).  I thought the acting in the songs was particularly strong, with the characters’ emotions really coming to the fore.  Perhaps a bit more movement could have been introduced at times, although I appreciate that this is not easy with a large cast cramming themselves onto the Palace stage!  Good use was made of a raised walkway at the rear of the stage, particularly towards the end. 

There was some very good lighting design in this show, really drawing us in to the story and with spotlights used effectively to highlight solo numbers.  I thought was brave to keep the lighting levels low during the climactic scenes and little touches like the lamplighter making his way across the stage were most effective.  Costuming was also very good (quite a task for such a large cast), and the backstage team worked seamlessly in rearranging the stage furniture between scenes.

Congratulations to all at Top Box for a most entertaining version of this great musical.  It was wonderful to see that a packed-out audience clearly enjoyed it as much as I did, with the uproarious reception being well deserved.  I look forward to seeing you again soon!

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