Oliver!

Kinver Light Operatic Society have a reputation for meeting a challenge head-on and Cameron Mackintosh’s revisiting of Lionel Bart’s classic, “Oliver” was no exception.  The limitations of the venue are legendary but Philippa Bishop and Sam Houston-Dowell’s co- production gets round them with consummate ease.

The first being, where do you put the band. Musical Director, Nick Jeavons, and the plucky musicians for this production were outside the venue, in a storage container and getting a glimpse inside their makeshift studio, they all looked and seemed to be having a great time!

This infectious feeling of warm joy was also in evidence in the auditorium and on stage. Excited young theatre goers were in abundance and were filled with eager anticipation at the prospect of seeing siblings, relatives and school friends about to bring the magic of musical theatre alive. They were not disappointed, as the show’s opening number ‘Food, Glorious, Food’, delivered by an enthusiastic and talented bunch of orphans, set the high bar for the rest of the production to live up to.

Dickens’ characters are superbly well drawn and lend themselves to a myriad of theatrical interpretations and were safe in the hands of Scott Denton’s Mr Bumble, enjoying every minute and syllable of the role and Cathy Moreton’s Widow Corney, playing to her vast comedic talent, especially in their dues ‘I Shall Scream’.  Throughout the evening there were several technical issues regarding microphones, sound balance and sound reproduction which, whilst irritating, did not compromise the talent of the performers.

Another feature of the musical theatre blockbuster is the multi setting demands that are put on companies, and these were handled perfectly by  Stage Manager, Adam Bowles, Assistant Stage Manager, Vicky Cook and the Stage Crew, efficiently choreographed to ensure the flow of the production.

The essence of Dickens, and thoroughly demonstrated to great effort in KLOS‘s production, is the sending up of some of the grotesque characters, Mr and Mrs Sowerberry, played by Alex Thompson and Charlotte Wood are a fine example of the genre underlined by their humorously staged and executed ‘That’s Your Funeral’ alongside equally uproarious Charlotte and Noah Claypole, played by Georgie Hand and Harvey Dalloway.

Brian Ashmead-Sears Fagin, elicited the menace yet underneath his comedic moments contributed to the feeling that despite everything that he did and stood for, he wasn’t that bad after all! This is also contrasted in the confidently diverting musical numbers – the positive outlook of ‘Be Back Soon’ compared to the slightly unnerving ‘Reviewing the Situation’.

On the other hand we have the unutterably good and the devastatingly bad characters to balance out the piece. These were very much in evidence in Rachel Bloomer‘s Nancy, tugging at your heartstrings and who could not fail to be moved by the iconic ‘As Long as He Needs Me’, gratefully received by a very appreciative audience and the nod to normality with Ray Howell ‘s Mr Brownlow, played with great tenderness accompanied by the tell-it-as-it-is Mrs Bedwin, played by Kate Cox. To balance, Adam Chester’s Bill Sykes, I would venture the only truly evil character in the story, repulses the audience just as it should do, reinforced by a powerful rendition of ‘My Name’.

Despite all of the efforts and the tremendous Dickensian talents on show, it is the two youngest characters that give the true heart to the story. Joshua Kendall‘s Artful Dodger had everything and more. A spirited and frighteningly good version of ‘Consider Yourself’ ensured that he had everyone in the palm of his hand and was beloved by the appreciative adults and children alike. An amazing stage presence who never once came out of character, mesmerising!  In contrast, the endearing and captivating Jackson Fryer ‘s Oliver, won you over from the very start, the delightfully charming and moving, “Where is Love” cannot fail to have you wiping away a tear or two.

If that was not enough, the incredible ensemble numbers are a delight, Emma Davies‘ choreography accompanied by perfectly rousing renditions under Nick Jeavons‘ musical guidance of the great classics such as ‘Oom, Pah, Pah’ and ‘Who Will Buy’ and delivered by an utterly enthusiastic ensemble.

This was the first time I had seen the revised stage version and I was really glad to see that the numbers and storyline were faithfully reproduced, my one misgiving was that I found some of the revised underscoring a bit jolly and frivolous and slightly at odds with the storyline being played out but as this was successfully achieved by Nick Jeavons and the musicians, it did not interfere with a tremendous evening’s entertainment from all those who took part.

My thanks to everyone at KLOS for their very warm welcome as always.

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