Oliver

A blockbuster show as this is, with so many young people as workhouse kids, street kids, etc. greatly helps fill the seats. On the Thursday matinee which I attended, the theatre appeared completely full and what a treat the audience enjoyed.

From start to finish this vibrant, smooth running show, with well directed change of moods and emphasis gripped the senses and DDOS achieved a wonderful standard of performance.

Sensibly dispensing with cumbersome scene changes, director Shaun Hughes used the whole of the spacious and deep Dorking Halls stage with one basic outline set. With excellent use of lighting by the ever reliable Richard Pike and wonderful sound by Stuart Vaughan, the various scenes were all skilfully changed without the addition of much cumbersome stage furniture. The whole stage sufficed as the workhouse, Sowerberry's undertakers, the Three Cripples Tavern, the various street scenes, Brownlow's house, London Bridge and  even  Fagin's den, which was mainly set upstage right with the prominent handkerchiefs strung out centrally in a washing line effect. This use of lighting  and set totally avoided interruptions by ponderous scene changes. The urchins both male and female  in Fagin's gang were well used, realistically dressed and though I did notice some dirt, a little more on their hands faces and arms might have been more realistic I felt.

Strong performances were given by all the principal players with a professional standard from several. Bob Hamilton was a superb Fagin, charisma flowing from his every gesture, word or song line.    I have rarely heard "Reviewing the Situation" phrased so skilfully. Having twice played Fagin personally, I was acutely aware of every little nuance, shifty glance and so on needed. Bob's was a thrilling and memorable portrayal of this peach of a role.

Helen Andrews was as good a Nancy as I have ever seen, even in the West End. Totally capturing this kind hearted, roughly used girl whether speaking, dancing or singing, she inhabited rather than portrayed Nancy. And what a singing voice!  Memorable indeed!

Geoff Brown as both the lugubrious undertaker Mr. Sowerberry and the hot headed Dr. Grimwig is the rare type of actor of whom upon seeing his name in the cast list, a reviewer's heart leaps. Geoff has possibly the most beautifully distinct and mellifluous speaking voice  on the Surrey amateur stage. Each superb syllable was a shining pearl and for characterisation, facial expression, body language and timing his playing was wondrous to behold!

Mike Sutton was a larger than life  and strangely likeable (I know one shouldn't!) Mr. Bumble, at times bumptious, lustful, craven and finally flummoxed by  Brownlow's well expressed anger. Despite the characters flaws one did warm to his humanity, I found, and that was definitely the case here.   I do hope though that on subsequent performances his prominent wedding ring, while still "a single gentleman", was concealed by tape, make up or, better still, removed.

Young Alex Glasher, as Oliver on the matinee which I attended, (though sharing the role with Charlie Huggett) was appearing for the first time on a real stage, as the detailed and comprehensive programme notes informed us. Well, young Alex, welcome to a lifelong love of theatre in which you showed an aptitude and emotional intensity little short of astonishing in one so young. Definitely a name to watch. "Where is Love" was so sensitively sung and you should feel very proud of what you achieved Alex.

Equally well cast was  Sasha Down, (sharing the role of The Artful Dodger with Julian Coppen-Gardner) who imbued Dodger with the Cockney craftiness, cheek and charm we associate with all the greats who have played this lovable rogue. And, like Alex, Sasha too has an outstanding singing voice.

Flossie Wigley was a female Charlie Bates, referred to as Charlotte on at least one occasion, to establish the gender of this usually male character. Flossie did extremely well, though I did not hear the line "with my own lily white hands" which the director chose to cut, seemingly.

Supplying the real evil with scary menace was the  dark, brooding Andy Robson, imbuing Bill Sikes with all the dark energy required and much more besides. I always feel that it is a weakness in Oliver that Sikes appears so late on. Having waited, as we have to, I  was glad to see a  nasty "bogeyman" enter this  marvellous show. His song "My Name" scared the pants off the company, which was top acting. I rather think I cowered in my seat and that was definitely not acting! If ever I see you in the bar after a show  Andy, I may give you a wide berth! Unless you are buying of course!

Charly Ralph was a zesty  and sensuous Bet, giving full support to Nancy and  moving with energy and real dancing skills. She also has a lovely singing voice.

Sarah-Jane Vincent relished the  bossy role of  Widow Corney and gave this feisty and conniving character the full range of her acting skills, to the audience's clear satisfaction.

Linda McMahon was a charismatic and forceful Mrs. Sowerberry, admirably showing her put upon husband just how to run a funeral parlour, even "for once" praising him for a good idea. I could really believe this praise was "only once", so pushy was she.  A particular show highlight for me was the  trio's performance of "That's Your Funeral", by Linda, Geoff and Mike.

Murray Stephen was the archetypal  kindly Mr. Brownlow, showing righteous anger when confronted with the scheming Bumbles, giving a beautifully pitched portrayal of Oliver's grandfather.

Louise Blewett did well as the kindly but firm Mrs. Bedwin, efficient housekeeper of Mr. Brownlow's household. The typical caring female. Even Dickens-especially Dickens- realised that.

In the smaller roles Felix Cuthbert gave us a bullying, cowardly Noah Claypole with convincing realism; Sophie Johnstone was an equally unpleasant Charlotte, showing realistic contempt for poor Oliver but flirting with the awful Noah. One's heart bleeds for all these poor Victorian Dickensian women, uneducated and stuck with appalling men. Charlotte showed this so well.   Danella Bow as Old Sal died with  a hoarsely whispered last "reveal" and popped off, unlamented  by those on stage but not by your tearful reviewer.

Inevitably stealing the show, however, was the well behaved Gertie, as Bullseye, who had, at long last, the common sense (though unwittingly) to betray Sikes.

In the well staged "Who Will Buy" street scene the "sweet red Rose" Seller was Hannah Vincent;  Siobhan Ames was a pretty Milkmaid; Kate Chapman a tuneful Strawberry seller; Liz Lindsay an old lady; Mike Ayres a Knife grinder and also a Nightwatchman; Stuart Furlonger was the Policeman and Aidan Gardner a Long song seller.

The large and spirited chorus shone and sparkled with energy throughout making a major contribution to the shows joie de vivre. Choreographer  Aimee-Marie Bow's spirited dance routines were danced with panache and tight control and I especially liked "Consider Yourself"  and "I'd Do Anything", with some boys used as horses, the fabulous company "Oom-Pah-Pah" and the show's whole finale. The show's music was admirably handled and controlled by the highly experienced Musical Director, Brian D Steel and his talented seven piece band. The sound never drowned the singers and I make a special mention of the hauntingly played violin by Barbara Steel,  never better illustrated than in the spine tingling accompaniment to "Reviewing The Situation", which for my money was the best sung, phrased and accompanied solo in the whole show, though "As Long As He Needs Me" ran it very close indeed. The only musical criticism was of the first children's song "Food , Glorious Food", which was distinctly ragged in parts.

I also would have preferred a longer and more dramatic chase of Oliver in the workhouse scene, before his capture and subsequent sale by Mr. Bumble, especially on this roomy stage.

Costumes-and what costumes they were!- were supplied by Elizabeth Callow and Sally Dallosso. Wardrobe was dutifully undertaken by Judith Kelly and assisted by Kate Fryer and Maureen Collinge, with all the painstaking fitting one would expect of this company. Make up was well handled by Anna Kelly.

Stuart Yeatman was the hard working Producer and Technical Director who is always  present and around to reassure everyone by his skills and judgement in DDOS's productions both here and in the adjoining Green  Room Theatre.

Shaun Hughes as the overall show director though must receive the ultimate palm for his excellent directing of one of the best Olivers it has been my privilege to see and certainly the best of several I have ever reviewed.

I would also commend the easy to read and detailed programme with it's detailed CVs, though I had to search for the rather small  Noda crest.   An afternoon to remember, indeed!

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