Iona Performing Arts Centre
18 June – 2 July
A lot of Savoyard’s production of the musical “Oliver!” happens in the shadows; the dark and dramatic visit to Victorian London’s murky underworld begins with its cast of downtrodden workhouse orphans marching from the stalls onto the stage in want of food, glorious food and it does not shy away from the story’s gritty violence. Yet the reimagining ultimately shines a light on just how timeless the musical is, particularly in terms of its brilliant score, which is full of favourite numbers.
Based on the Charles Dickens’ classic novel, “Oliver Twist”, the musical is a story about holding onto hope in the darkest of times in its tell of the story of the young orphan, Oliver, and his struggles against the, often cruel world within which he lives. After daring to ask for more food at the workhouse where he is lodged, he is sold into apprenticeship with an undertaker before escaping to London where he finds himself accepted by a bunch of thieves and pickpockets, led by the elderly Fagin. Unsuited to a life of crime Oliver soon discovers that leaving Fagin’s gang and starting anew won’t be so easy.
With a multi-generational cast of over 50 performers, the show features an abundance of talent. Jeremiah Rees is wonderful as opening night’s eponymous hero, ethereally good-natured in juxtaposition to the squalor of his environment, but also plucky with moral determination. His pure, angelic voice epitomises his innocence, as evidenced in his main ballad, ‘Where is Love’ in which he longs for love and the mother he never knew.
Under David Harrison’s artistic direction, the production is layered with vivid characterisations. Warryn James is well-cast as Fagin. His performance is compelling in its energy and humour as he plays games and jokes with his pickpocketing students, often through song. Priyah Shah is also a standout in the range she brings to the kindly character of Nancy, member of Fagin’s gang and sympathetic lover of the sinister antagonist Bill Sikes (Raymond Gillmore). Her lead of Act Two’s opener ‘Oom-Pah-Pah’, makes the rollicking old tavern song infectious to us as much as the boisterous low-life ruffian customers on stage in a “Les Miserables” ‘Master of the House’ type way. Her strong vocals are no better seen than in Nancy’s torch song, the powerfully despairing ‘As Long as He Needs Me’, in which she attempts to convince herself of Bill’s love, leaving the audience spellbound. Indeed, her shows of strength but also vulnerability ensure that Nancy is presented as a complex character to be considered beneath the veneer of her defence of brutal Bill’s abuse.
Oliver Dobrenov gives us a charismatic, cockney child-gang leader, Artful Dodger, confidently leading many ensemble numbers and Rod Jones and Phillipa Bowe are gloriously hyperbolic in their early show play off each other as the self-important beadle of the poorhouse where the orphaned Oliver is raised and the sharp-tongued widow Mrs Corney, especially in their saucy interplay into ‘I Shall Scream’.
The show is filled with harmonious chorus numbers. The communal ‘Consider Yourself’ when the ensemble assembles together, is a glorious highlight. Unfortunately, ‘You’ve Got to Pick a Pocket or Two’ when Oliver is introduced to Fagin and his boys falls comparatively short on Opening Night, courtesy only of significant microphone issues that plague things from Fagin’s entrance. James does well to not only work through the ongoing crackles and static, but persevere without amplification amongst a sea of other voices, which detracts from the animation of his triumphant recall of successfully executed crimes.
Under Jacqueline Atherton’s considered musical direction, a lively orchestra advances the plot with songs and underscoring, utilising a range of melodies to represent the different characters, as well as reminding us of the virtues of the musical’s most-known tunes. Kim Heslewood and team’s costume design adds texture and movement alike, from the colourful toff pop of the Artful Dodger’s jacket to the petticoat ruffles of dancer dresses, while Lynne Swain’s makeup design contributes much to the gothic sensibility of early scenes, particularly those featuring the Tim Burtonesque funeral owners, Mr and Mrs Sowerberry (David Harrison and Hannah Davies). Carlie McEachern’s lively choreography includes its own detailed highlights, such as in the chimney sweep moves within an Act Two ensemble number and Sherryl-Lee Secomb’s set design makes good use of the space, allowing for locations to pop open from within its facades.
This is an excellent musical revival, full of highlights and everything needed to entertain its audience, including nod to the melodramatic imagery and rhetoric that characterised the Victorian stage of its setting. While finding the drama with the text means including its depictions of domestic violence and alike, this is handled well, making it still suitable for younger audience members, after some pre-emptive conversations. Social satire aside, however, what is most resonate about this “Oliver!” is its theme of resilience and hope that things will get better, which makes it at-once inherently British in its sensibility but also universal in its ultimate impact.
Photos c/o – Sharyn Hall