19 December 2023 I 19:00 I Leeds Playhouse (Quarry Theatre)
⭐⭐⭐⭐
The newest revival of Lionel Bart's musical Oliver! completely transforms Leeds Playhouse's Quarry Theatre, reinvented for an in-the-round audience. Though still maintaining many of the classic elements of the show, this hugely raved about production really delivers an exuberant and lively dynamic, though at times left me wondering whether this staging is the best fit. Nevertheless, directed by James Brining, the vision is glorious, and delivers some incredibly unexpected WOW moments.
Led by Luke Holman's musical direction, the soundtrack is outstanding alongside whirring tensions, orchestrations (plus live onstage music and percussions) keep the immersive show contained and coordinated. Almost everyone knows a couple of scores from Oliver!, including Food, Glorious Food and Consider Yourself, it certainly feels like a warm reminder of the 1968 film I had seen as a child. For those unfamiliar, Oliver! follows the titular character's orphaned childhood, and his clamorous life tossed around criminal bodies in various embodiments of family.
The cast is exceptional, none other than the young performers who really bring the liveliness and energy across every scene. Nicholas Teixeira, portraying Oliver, is a delightful star! He looks so small and terrified among a gigantic auditorium, fully surrounded by audiences. But there is no doubt that with such an irresistibly good voice, Teixeira has a brilliant future ahead, on point with the many many scenes he features. And alongside Felix Holt & Noah Walton (The Artful Dodger and Noah Claypole respectively), this pair are real standouts among the younger ensemble, with bold and cheeky demeanours that reflect the impudent Victorian characterisations from Dickens' literature.
It is uncommon to see in-the-round staging (Colin Richmond) in such large commercial theatres. There is a circular main stage, with an outer ring, as well as a bridge directly over the stage, staired sections up to this and multiple platforms on one side, all sharing the action. We were seated essentially where the conventional stage would be, looking out to the traditional auditorium, by an aisle. So without a doubt, during such a fast paced musical you can't help but feel wonderfully involved in the atmosphere, indeed with some brief audience interaction. However, our position involved a fair amount of moving and turning to see the action, which can be distracting to find and return to the 'main' moment. These external spaces are a really interesting concept, though throughout the show, they could have been used more in moderation, as it felt quite exhaustive, action drowned out by the stagecraft. Indeed with the blocking, for a lot of Act 1, a large centrepiece is placed onstage, obstructing our view. Although whole-cast renditions are jovial, the impact is softened due to its business and being slightly too 'front-performed' for in-the-round.
The constant in and out of prop work can appear tricky, but credits must be given to Guy Hoare's lighting, which for me really helps to focus the audience's attention, particularly isolating Oliver's innocence with pure white spots, and the contrasts when he finds homeliness.
For me, Jenny Fitzpatrick's performance as Nancy is the role to get truly stuck into, an emotional character arc in which you sympathise the easiest. For Fitzpatrick, I really believe this is a career defining moment, the emotionally motivated As Long As He Needs Me just exquisite. No other word for it, a masterclass of despair through song, the rapturous applause above any other moment is guaranteed! She has a tremendous relationship with Chris Bennett (portraying Bill Sikes), a frightening stage presence, making for an incredible antagonist. The way that Bennett can command attention, either silent or in a rampant rage really balances the show opposite the funny interjections of the Bumbles, for example.
I really enjoy Lucy Hind's choreographed movement work, holding a wonderful musicality through Bart's score. Act 1 feels very punchy and loud, though Act 2, for me is where Oliver! really finds it feet, becoming grounded and allowing the emptiness to work in it's favour.
Oliver! is such a hearty show, although slightly let down by it's staging. Nonetheless, the spirit and humanity the musical represents carries such wonderful messages. If you are a fan of the traditional, or prefer a more modern styling of a classic piece, a trip down to Leeds Playhouse will leave you asking for more!
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