By Hamza Jahanzeb
09 Dec 2023
‘Consider yourself at home
Consider yourself one of the family!’
The concept of the musical Oliver! stems from the novel Oliver Twist by Charles Dickens which was written in 1838. In true Dickensian fashion, it tackles life in the lowest rungs of society classes of the Victorian period in England; this story centres around an endearing protagonist whose circumstances (he is an orphan and is being placed in a workhouse and dares ask for more food) mean that we root for him throughout the show. This edition of the play is brought by the Artistic Director of the Leeds Playhouse, James Brining in the Lionel Bart iteration (originally performed in the West End in 1960) of the world-renowned story by the revered English writer. The sound by Richard Brooker, coupled with Luke Holman’s musical direction also made this such a gorgeous listen as well as a visual feast. There is a beautiful violin being played every time Steve Furst graces the stage, which is stunning to hear as well as his excellent rendition of of the iconic song, ‘Reviewing the Situation’.
Colin Richmond’s gritty set brings emphasis in the storylines (there’s a scene at the beginning with ashes flakes that pour on the floor in such a hypnotic manner), and as an audience we are inevitably drawn into the world of Oliver! which feels scarily accurate to real life now. The fact that we are facing a cost-of-living crisis, where people are struggling, showcases that a bit of empathy as we see Oliver’s fate change is much welcomed. This isn’t the traditional Christmas show, but it was bags of heart and a lesson we can all take away. The dances are slick, and the co-ordinate such a large cast must bring commendation to Lucy Hind’s choreography. It was so nice to see the big numbers where all ensemble on stage provides such seamless numbers, where audiences clap along (‘Consider yourself’, I’m looking at you). The scene-stealing ‘Where is Love?’ is sung so delicately by Carter-J who is the Oliver we had performing during our Saturday matinee performance.
Today’s Nancy was played by the first cover Frankie Hart, who brought a sense of vulnerability that the role demands, as well as huge pipes to match. It was a considered performance, believable and the song ‘As Long as He Needs Me’ was a particular highlight for me to witness. There’s also an excellent Mr. Bumble in Minal Patel who commands the stage with a booming presence and brings laughter in a seriously dark show.
Furthermore, the set was exceptionally good in its alluring element; the theatre being in the round offered opportunities that worked in a tight, close-knit manner. Brining’s choice to ensure that the scenes where the actors walked about the audience members, they were included with intent and purposes. Further, it is the director’s choices that hold up a show and for me, to re-create a classic with an element of the immersive experience meant that my party and I were able to feel like the action engulfed us. The choices from each actor were vividly accurate to the origin, as was the diction of all actors (pleasantly, for that’s not always a given).
All in all, it’s great to see this producing house outside of London showcase a very high standard of what can be achieved with some thought and also clever staging. The team who have worked on this triumphant production ought to pat themselves on the backs, for my nephew and I adored this production. The source material does not feel tired, and this was a great night out at the theatre. There’s something here for everyone, which will sure have you well and truly wanting ‘some more’.
Until 27 January 2024 only:
https://leedsplayhouse.org.uk/event/oliver/
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ALL PRODUCTION IMAGES CREDIT: ALASTAIR MUIR
