If you are one of the fortunate ones who have seen “Cameron-Mackintosh’s-new-production-of-Rupert-Goold’s-recreation-of-Sam-Mendes’-direction-of-Lionel-Bart’s-theatrical-masterpiece-‘Oliver!’”, consider yourself (pun intended) lucky. And breathe.
It seems a bit pointless reviewing this production considering it has closed now, but I thought it would be worth it in any event. This recreation of the 1994 Cameron Mackintosh production at The London Palladium opened almost two years ago with Rowan Atkinson in the much-coveted role of Fagin, and Jodie Prenger (who had won the role in TV talent search competition I’d Do Anything) as Nancy, and now stars Griff Rhys Jones as Fagin and Kerry Ellis as Nancy.
The Company of 'Oliver!' in "Who Will Buy?"
We follow the story of Victorian orphan Oliver Twist, who is sold from the workhouse, escapes from the funeral directors he is employed at and ends up living with Fagin and his gang of boys in London, until one day, in a twist of fate, picking the pocket of an old man turns out to be a life-changing experience.
Lionel Bart’s score shines through in this production, with orchestrations by William David Brohn and we remember why we fell in love with it in the first place, with all the favourites featuring beefed-up, cinematic orchestrations which completely immerse the Drury Lane in the Dickensian London we see onstage. The score of ‘Oliver!’ is like pink custard – completely typical, filled with gimmicks yet a guilty pleasure for any listener.
Anthony Ward’s set and costume design are without par in the West-End at the moment, the incredible use of the Drury Lane’s football pitch-sized stage and fly towers apparent in huge production numbers like “Consider Yourself” and “Who Will Buy?” The costumes are perfect Victorian down to the last detail without being overly melodramatic and reminiscent of pantomime, which is a common occurrence of many musicals set in this time period.
Rupert Goold’s direction and Matthew Bourne’s choreography fit perfectly with Ward’s designs to create a visually stunning show that conveys every detail which one can presume Dickens intended. The unique thing about Bourne’s choreography and the thing that works well in ‘Oliver!’ is that he doesn’t choreograph a huge dance sequence where the whole cast is doing the same thing. Every cast member has something different to do, in character, which makes up a huge picture of simply spectacular choreography
The Company of 'Oliver!' in "Consider Yourself"
Griff Rhys Jones’ interpretation of Fagin was both fun and deeply serious – a heavily black comedic role which Jones played to perfection. He ranged from playing with the audience (making topical jokes about the price of tickets and the Irish banking system) to the scary villain that Fagin actually is which concludes in the chilling final picture of Fagin’s silhouette disappearing into the London sunset. However, in future, Jones may take advantage of the good idea of maintaining character as one makes entrances and exits.
Masterful also is Kerry Ellis’ performance as Nancy, ranging from the camp “Oom-Pah-Pah” to the ultimate Torch Song “As Long He Needs Me.” Long before “I Dreamed a Dream” and “Memory”, “As Long As He Needs Me” is the original power ballad about love, love for the man who constantly abuses her in Nancy’s case. And Ellis simply delivers the greatest interpretation of this song in the history of the role, her magnificent voice soaring and effortlessly filling the theatre.
In this case, the man who constantly abuses Nancy, Bill Sikes is played by ‘Oliver!’ veteran Stephen Hartley who originally played the role in the London Palladium production alongside Robert Lindsay as Fagin. Hartley has the perfect physique for Bill Sikes including a perfect voice you couldn’t put-on.
This production is a perfect, flawless revival of this classic musical, though one feels that perhaps the production far outweighs the material. ‘Oliver!’ is a fantastic musical; though its highest merits are the book and the production. The music can at times be too typical, and the lyrics are, though cleverly rhymed (see rhyming ‘uppity’ with ‘cup o’ tea’), are merely passable at times. The material does have good points though, with As Long as he Needs Me being the main one with the perfect matching of beautiful melody and haunting lyric.
Rowan Atkinson as Fagin
Whatever problems the show itself may have, they go largely unnoticed in Cameron Mackintosh’s production which is certainly a production for the ages.
4*
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