“Part of the Festive Furniture” – Oliver! at Leeds Playhouse Review
Personally, the Winter Show in the Quarry Theatre at Leeds Playhouse has become part of the furniture. Some Christmas traditions should be relegated to the dusty box in the back of the loft. Not even to see the light of day during the festive period – I’m looking at you, King’s (formerly Queen’s) Speech. But Leeds Playhouses’ annual winter show has become the Now That’s Christmas moment for me. From then on, Christmas music is acceptable. The decorations come out. And Oliver! is no different.
Charlie and the Chocolate Factory – The Musical felt like a difficult act to follow. Last year’s festive musical was heralded for its ingenious staging, musical numbers, and stellar acting from the cast of young people. With such a hard act to follow, it’s no wonder why James Brining was brought back to direct Oliver!. Adapted into a musical by Lionel Bart, Charles Dickens’s Oliver Twist (1836) is an undeniably cherished classic.
The rags-to-riches story follows Oliver Twist’s journey through Victorian London in search of a home. Over the course of the nearly 2-and-a-half-hour-long musical, Oliver’s position goes from precarious to even more perilous. Starting life in a dingy workhouse, Mr Bumble sells Oliver to a pair of Tim Burton-inspired Undertakers the moment he utters the iconic line “Please sir, can I have some more?”. The story really hits its stride when Oliver once again escapes his unfortunate living circumstances and befriends cheeky Artful Dodger and the rest of Fagin’s gang of pickpockets. While things might be looking up for Oliver, a run-in with the law and his pursuit by menacing Bill Sykes creates an enthralling final act.
This rendition of Oliver! is unquestionably faithful to Charles Dicken’s original novel and Lionel Bart’s adaption in the 1960 stage musical. For those who have seen the film produced in 1968, there will be little surprises in store. The narrative is still very Victorian. A mother who gives birth (presumably out of wedlock), too ashamed to turn to her wealthy father. Said wealthy industrialist in fact a benevolent philanthropist who takes Oliver under his care. While the narrative might not have changed much over the past 60 years, Leeds Playhouse continues to excel inclusivity-wise – whether on stage or in the variations of inclusive performances.
Oliver’s timelessness is in large part thanks to musical numbers. Opening in the workhouse with an excellently choreographed ‘Food, Glorious Food’, the waves of nostalgia and awe wash over the audience. Later, the titular character asks ‘Where is Love?’ while one by one, members of society turn their back on him. At least in my case, I watched on helplessly with bated breath anxiously praying Oliver hit the high notes. They did, with ease. ‘Consider Yourself’ is the jewel in the crown, or master thief Fagin’s box one might argue. The rendition of Oliver’s most renowned song was worth the price of admission alone.
The cast, selected during open call-outs with attracted over 1,500 auditions, was quite simply fantastic. Felix Holt, one of three Artful Dodgers, clearly wasn’t lying when they said “I’m looking forward to experimenting and being able to bring The Artful Dodger to life”. Holt did indeed bring the character to life with a hop, skip, and a jump. Steve Furst, comedian prominently featuring in Dick and Dom among other acting credits, deserves special plaudits too. Much like Holt, Furst was able to embody the character of Fagin. As he wafted his filthy coat and played musical interludes with his violin, you sensed Furst in his element. While Jenny Fitzpatrick, as Nancy, exudes West End calibre in her shining moment ‘I’d Do Anything’.
As is customary for Leeds Playhouse, the staging was full of surprises. The set screamed Victorian London. Street lamps lowered from the ceiling. Smoke emanated from the floor. I won’t say much more to spoil the most creative elements of staging. Instead, I’ll let your jaw drop as a new element is unveiled just as mine did. Unlike previous years, the Quarry Theatre’s stage was circular encompassed by seats on all sides. Although it’s natural to feel envious at some points, anxious about missing out on any of the action, the swift choreography meant these fears were alleviated quickly. That being said, ‘the round’ meant sacrifices were made to make the staging more static and therefore less visually inventive than other Playhouse Production in the past 12 months including Charlie and The Chocolate Factory or Lord of the Flies.
Oliver!, much like the Playhouse more broadly and their previous winter shows, is an infectiously joyful experience. The story, despite it’s obviously Victorian outlook, still sends waves of nostalgia and awe. The staging makes the audience consider themselves part of a slightly more glamorous Victorian London. But it’s the musical numbers and faultless choreography that make Oliver! a must watch, and continues the trend of Leeds Playhouse Winter Production as part of the festive furniture.
Oliver! is on at Leeds Playhouse until 27th January 2024. Tickets are available from Leeds Playhouse’s website from £15.
