It’s a safe bet that most people are at least vaguely familiar with the story of Oliver Twist, the young orphan boy who dared to ask for more gruel, was ejected from the workhouse and consequently found himself a member of a gang of young pickpockets. The musical version by Lionel Bart is a perennial favourite, offering a vehicle for young performers to cut their teeth, as well as several good roles for more mature and experienced performers. The G&S Society is the latest company to bring this show, Oliver!, to the stage in Adelaide.
The set is impressive, layering room interiors, outdoor gardens and other aspects of the cityscape. It is also flexible, allowing easy transitions of the space from one locale to another while enabling use of the majority of the stage in each scene. Lighting from Daniel Barber, and Matthew Curtis’ sound scape, contribute well to the overall atmosphere, though some of the street sounds are a little distracting at times. Projection (Mark Wickett) is also used well to set the scene, add extra detail and show elements of the script that could otherwise be difficult to stage. Under the musical direction of Peter Johns, the large band handles the accompaniment well.
While there is a sense of fun and light-hearted folly surrounding the antics of the young thieves, there are also many serious issues, particularly relating to violence, included in the story. Director and production designer David Lampard has chosen not to shy away from the darkness in the story and this is the greatest triumph of this production.
Paul Talbot injects the infamous Bill Sikes with a wholly believable seething menace, so that you never doubt he really will hurt anyone who crosses him. Emma Bargery starts off a little too polished as the streetwise Nancy but is very strong in the later scenes when we see her struggle between doing what is right and staying true to the man she loves. Unfortunately she doesn’t quite hit a couple of the highest notes, but for the most part her voice is lovely and has a powerful and pure quality.
As is often the case for shows with children in them, the roles are shared by two casts who do alternating performances. Those appearing on opening night brimmed with enthusiasm and synchronised well in the big numbers. Jack Raftopoulos was a sweet Oliver and Isiah Fabbro a cheeky Artful Dodger. As Fagin, the adult leader of the pickpockets, Rod Schultz is highly enjoyable, with just enough malevolence to be disturbing, the right amount of simplicity to still be likeable and a pleasing voice to boot. He also provides a good anchor for the children’s chorus to work around.
Lampard appears onstage as Mr Sowerberry, the Tim Burton-esque undertaker who purchases Oliver from workhouse director, Mr Bumble (John Greene). This scene, with Vanessa Lee Shirley appearing as his wife, is the highlight of Act 1; both actors give their characters a nice blend of comedy and creepiness and bounce off one another to deliver their lines with energy and perfect timing.
Unfortunately it is the lack of pace and mistiming in several other scenes that detract from the overall flow of the show. More attention needed to be paid to the smaller details: to the physical interactions between characters, the vocals of some minor leads and to tightening up the non-singing sections of the show. Hopefully these issues will be overcome as the run of the show continues.
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