Oliver! (Leeds Playhouse, Personal)

 🌟 Oliver! 🌟

19 December 2023 at 7:00pm at Leeds Playhouse

★★★★

The newest revival of Lionel Bart's musical transformation of Oliver! completely strips away 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 style was 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'd seen as a child. For those unfamiliar, Oliver! follows the titular character's orphaned childhood, and his clamorous life tossed around criminal bodies and family.

The cast is exceptional in this revival, none other than the young cast 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 an extremely good 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 Dickensian literature.

It is uncommon to see in-the-round staging (Colin Richmond) in such large commercial theatres. There is a large 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 of the auditorium all for action to take place. We were seated essentially where the conventional stage would be, looking out to the traditional auditorium, and on the front row of this by an aisle. So without a doubt, such a fast paced musical you can't help but feel wonderfully immersed in the action, indeed with some brief audience interaction. However, the position we were in 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, these elements could've been used more in moderation, as it felt quite exhaustive, and action can be drowned out by the stagecraft. Indeed with the blocking, for a lot of Act 1, a large centrepiece is placed onstage, obstructing our view at times. A few moments with such a large cast has to be drawn in, as although it is jovial, loses the impact 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 invested in, with an emotional character arc where you sympathise the easiest. For Fitzpatrick, I really believe this is a career defining moment. Her renditions of As Long As He Needs Me are just exquisite. No other word for it, a masterclass of emotion through song, the rapturous applause above any other moment is guaranteed! She has a tremendous relationship with Chris Bennett (portraying Bill Sikes), who has such an intimidating 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 original music. Act 1 feels very punchy and loud, though Act 2, for me is where Oliver! really finds it feet, becoming more grounded and allowing the emptiness to work in it's favour.

Oliver! is such an investing and 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 of theatre magic, a trip down to Leeds Playhouse will leave you asking for more!

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