Writing this listening to an LP record of the show’s soundtrack, featuring Jim Dale (as The Artful Dodger); Jon Pertwee (as Fagin); Nicolette Roeg (as Nancy) and Tommy Mann (as Oliver), I am reminded of the joy it was to witness Buxton Opera House’s production of Lionel Bart’s classic (labelled on the record sleeve as “record-breaking”), Oliver!, with its deep yet emotive underlying story, as repertory to their production of Rent, both directed by the accomplished Paul Kerryson. (Bart achieved a feat of three hit musicals all running in London at one time, along with ‘Fings Ain’t Wot They Used T’Be’ and ‘Lock Up Your Daughters’).
With, what seemed like, an unorthodox beginning, we hear a pregnant woman screaming before a projection of “11 years later” which’s dark music was - I guess - meant to act in place of the traditional overture. As the non-effective gauze was raised to reveal The Workhouse, manned by Beadle Mr Bumble (Tavis Hill) and his female interest and sidekick, Widow Corney (Maria Dunford) and sample their experienced singing voices, after the boys, dressed in brilliant white, well-pressed white shirts and black trousers and shoes - almost like the basic essentials of a modern school uniform - entered to the iconic and highly-memorable ‘Food Glorious Food’, in which we first see and hear Oliver and the others, as they perform solos within the piece. After drawing straws, Oliver (whose name is also the title of the song that follows this drama) asks for more, and is taken to the streets by Bumble and sold to funeral director Mr Sowerberry.
When we hear Oliver (this evening played by Lucas Shirtcliffe, as opposed to his alternate Alfie Hall) treat us to his first solo, ‘Where Is Love?’, I was taken aback at how more mature his voice is but realised that it makes sense when he states to Noah Claypole - who works at the funeral directors’ - that he is 13(!), instead of the 9 years old of the original in Charles Dickens’ novel. The costumes of the workhouse boys is not the only modern twist or inconsistency, as we see Noah’s distinctive brown shoes feature throughout as he and others double cast, seeing him sport a normal top hat at one point as a policeman instead of the traditional ‘stovepipe’. He also has an eerie raised eyebrow which was odd, almost as odd as Fagin’s bird sounding like a Wood Pigeon - which I believe the script references as an owl.
The concealment of scene changes (or attempted when using the gauze) through two cloths with a passage between them is clever and worked well and the choreography was good apart from its monotonousness in ‘You’ve Got To Pick A Pocket Or Two’, as was the minimal set and use of scaffolding and platform staging/steps. Technically, the only issue that occured was with only a few microphones not being put on.
As we see from prior to her entrance, Nancy (Natalie Coverley) is a joy to behold, joined by best friend Bet (Maria Dunford); both of whom have brilliant voices and stage presence, as does Fagin (Lucas Bailey), who also have an air of innocence. Before we meet these though, we meet the delightful Artful Dodger (played tonight by Ollie Spittlehouse-Wain, alternated by Henry Hodgkinson) who embodies the cockney accent and isn’t too Dick Van Dyke. My showstopper has to be between Fagin and his gang’s ‘Be Back Soon’ and Nancy’s ‘As Long As He Needs Me’ and its reprise but I did not like Stewart Bowden’s overacted and misplaced portrayal of Bill Sykes and his version of ‘My Name’ drew no applause, but everyone seemed to enjoy the entry of the, traditionally used, Bulldog Terrier who plays Bullseye (who only appeared at that point, for Bill’s demise and the finale. It was a missed opportunity not to include him in Nancy’s death scene). Lucas Bailey’s Fagin holds the show and has the audience, the cast of his scenes and even the orchestra - under the direction of Simon Murray - in the palm of his hands, with great timing, especially in ‘Reviewing The Situation’. An odd scene placement is when we return to the workhouse to witness, now married, Bumble and Corney as Old Sally passes on after confessing the fate of Oliver’s mother and her status under Oliver’s guardian, Mr Brownlow (whose actor’s name doesn’t appear in the programme), whose residence is the setting of ‘Who Will Buy?’ which features Rose Seller Isabel McAndrew; Milk Maid Emily Clarke; Strawberry Seller Emily Redwood; and Knife Grinder Connor Wyse, and is always a well-crafted component to the show.
With a cast of 15 youngsters; 3 female dancers; 16(?) adults doubling up, some of whom also appear in Rent, the overall show is a spectacle, even if some elements are simplified, and I wish them the best for the rest of the run and future productions. I have no doubt that many members of the cast will go on to great things.
Reviewer - John Kristof
on - 6/6/19
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