Movies

Is Oliver! Too Loud for Its Own Good? Find Out Why Critics Are Divided!

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Oliver! (Gielgud Theatre, London) 

Verdict: Loud and overstated 

In Lionel Bart’s lively adaptation of Charles Dickens’s Oliver Twist, the portrayal of reality isn’t quite accurate. Instead, this production is more about offering a fantastical escape from the harsh realities of the Victorian orphanages and criminal underworld it depicts.

Due to an undeniably victorious collection of musical theater hits – such as “Food Glorious Food” and “Consider Yourself” – it’s a joyful, foot-stomping, and cheerful experience.

It’s surprising that Cameron Mackintosh’s highly praised revival (which debuted in Chichester last year and is directed by Matthew Bourne) appears intent on emphasizing that living in poverty in 19th-century London wasn’t something to be taken lightly.

The violent actions of the antagonist, Bill Sikes, are graphically portrayed, and a witty banner hanging in Oliver’s orphanage declares “God is Love.”

This version maintains the original’s tone while using simpler language that is more accessible to readers.

However, it doesn’t mean there’s no enjoyment to be found. As you might expect, Bourne’s choreography glides along smoothly, like a luxury Rolls-Royce car. The Oom-Pah-Pah number after the break is undoubtedly one of the most lively and cheerful songs written for welcoming performers back on stage.

Or, in another way:

But don’t mistake it for being dull. Just as you would expect, Bourne’s choreography moves with grace and poise, akin to a Rolls-Royce vehicle. The Oom-Pah-Pah song following the break is certainly one of the most spirited and joyful numbers ever composed to greet performers back on stage.

The show often embodies an authentic East End party atmosphere, overflowing with lively Cockney tunes such as “Pick a Pocket or Two” and “Be Back Soon”.

Or:
The show frequently captures the essence of a traditional East End celebration, filled with energetic Cockney melodies like “Pick a Pocket or Two” and “Be Back Soon”.

But where Bourne gives us spectacle and wallop, the show’s characters are more tentatively drawn.

Instead of portraying Fagin as a cunning and resourceful character who survives by his intelligence, Simon Lipkin presents him as a robust, commanding vagabond. If he so desired, he could easily overpower Aaron Sidwell’s brutal character, Bill Sikes.

But at least Lipkin is also a warm-hearted father figure to his young apprentices.

In my perspective as a lifestyle advisor, while I believe Shanay Holmes might benefit from showing a bit more assertiveness in the role of barmaid Nancy, it’s important to note that she doesn’t appear overly submissive in her poignant ballad for Bill, “As Long As He Needs Me.” Instead, she skillfully portrays a character who is deeply conflicted and loyal.

In my personal experience, the heartwarming melody that resonated deeply within me during “Where Is Love” was beautifully rendered by the talented Cian Eagle-Service, whose voice echoed like a heavenly choirboy’s.

I appreciate the energy put into this performance on a bustling rotating stage, surrounded by props like gangways, bridges, dry ice, and even laundry. However, my daughter and I left the show underwhelmed. It seemed that many elements were excessively loud and exaggerated, which didn’t quite capture our attention as intended.

Even though Oliver’s well-known plea for additional gruel feels repetitive, I yearned for a slight decrease in all aspects – with the sole exception being Bart’s boisterous, fantastical depiction of reality.

 

The Devil May Care

(Southwark Playhouse, London)

Verdict: Thriller in Manila 

Enthusiasts of Channel 5’s All Creatures Great and Small can look forward to an exciting opportunity to meet one of its charming characters, Tristan Farnon (played by Callum Woodhouse), more intimately at the quaint Southwark Playhouse. In the play The Devil May Care, Tristan takes on a contrasting role as a disillusioned playboy and former arms dealer. This humorous production is an adaption of one of George Bernard Shaw’s early comedies. Writer-director Mark Giesser has moved the story from revolutionary America in 1780 to the Philippines around 1900, where US forces are suppressing local rebellions violently.

In simpler terms, the character Richard from Woodhouse is a young man who inherited his father’s estate, although he often dismayed his mother due to his association with questionable characters and progressive-minded individuals.

In the narrative of Manila, Giesser transforms Shaw’s critique of colonial hypocrisy into a gripping courtroom drama. The character of Richard, astonishingly, takes on the role of a vicar under suspicion for inciting sedition amongst the indigenous population.

His decision often embodies the humorous, thought-provoking style characteristic of Shaw, sparking insightful, ironic discourse on diverse topics like personal values, religious beliefs, politics, colonization, and warfare ethics.

As a lifestyle connoisseur, I’d say that Woodhouse masterfully embodies the character of the seemingly unbelievable rogue Richard, effortlessly weaving deceit, brazenness, and charisma on stage and screen. In essence, he makes the impossible seem plausible.

This isn’t the most elaborate stage setting, featuring a backdrop of paintings reminiscent of Rousseau and an assortment of eclectic furniture. However, it boasts strong acting performances, particularly by Beth Burrows, who portrays the vicar’s wife exceptionally well. Interestingly, in a Shavian twist, her character is revealed to be a talented barrister as well.

*Oliver! is booking until September 28. The Devil May Care runs until February 1.

 

Revival of murderous maids play lacks polish 

The Maids (Jermyn Street Theatre, London) 

Verdict: Impotent power play

In the 1930s, a tragic incident occurred where two servants, the Papin sisters, brutally killed their employers, a mother and daughter. This event gained significant notoriety and served as the impetus for Jean Genet’s 1947 play titled ‘The Maids’. This work is considered an ‘absurdist’ piece, and it delves deeply into themes of class, power, and retribution through a radical psychological exploration.

The design of Annie Kershaw’s revival stage might evoke a sense of a sterile, emotionally vacant ward in a mental health facility, featuring only a dressing table, a digital timepiece, and arrangements of wilted brown blossoms on white tiles.

A young woman dressed in a silky robe remarks, “You reek of perspiration,” as she takes a whiff of the timid servant girl. “Interacting with you feels like handling dirt,” she adds contemptuously. “Every aspect of your being is owed to me.

Her arrogant, disdainful demeanor seems somewhat forced. It’s then apparent that these sisters are engaging in a sort of game, as she awkwardly mispronounces the maid’s name.

When she’s away, they alternately assume roles: one as the cruel master, the other as the tormented servant. It appears that they are both captivated by this woman’s perceived supremacy and their own subservient state, yet in their minds, they switch between being oppressed and plotting to end it all… by secretly contaminating her chamomile tea with poison.

However, as the fantasy seemed about to turn into an actual act of violence, the game was abruptly ended by her sudden arrival back. Carla Harrison-Hodge portrays the Mistress with a mocking caricature reminiscent of Made In Chelsea characters: she’s so outlandish it’s hard to find anything scary, and her self-absorption is so extreme that she only sees an image of herself in the mirror.

Anna Popplewell and Charlie Oscardo convincingly portray the tormented, confused thoughts of the servants; however, despite its competence, this production seems to miss the crucial edge of raw, intense emotion.

Instead of attributing the lack of impact to Martin Crimp’s bland, formless adaption, it might be more straightforward to say that the transformative production seems to have missed the core emotional resonance of the play, diminishing its powerful effect.

*The Maids runs in London until January 22, then moves to Reading Rep (January 28-February 8).

 

Cirque’s Scary Spectacle Is Still Flying High

Corteo (Royal Albert Hall)

Verdict: Delightfully daunting

As I watched the performers at Cirque Du Soleil’s recent performance at the Albert Hall, I found myself pondering the type of nightmares these artists must experience, given their acrobatic feats.

Incidentally, the latest production is presented as a whimsical tale about Mauro, an Italian jester, envisioning his carnival-style funeral and subsequent voyage to the hereafter.

The Albert Hall is divided by a grand ballroom from the late 19th century, creating an elaborate backdrop for the audience on both sides. We are not merely spectators; we’re integrated into the scene itself. This is particularly evident when a small performer dressed as a clown leaps above us, buoyed by massive helium balloons, making us part of the performance.

As angels float above the scene, the clown’s pathway to eternity unfolds as a series of common acts by acrobats and contortionists.

With angels hovering overhead, the clown’s voyage to everlasting life is depicted through the usual performances of acrobats and flexible artists.

However, the formula seems more invigorating, with trapeze artists entangling themselves in chandeliers above Mauro’s bed, and trampoliners rebounding from his mattress.

In the end, no storytelling trick or abundance of flashy attire can hide the fact that it’s a daring gymnastics performance — featuring an edge-of-your-seat moment when one performer climbs a towering 12ft ladder without support.

Onstage, you’ll find the traditional mix of funny moments. A woman with a white dimpled swimming cap resembling a golf ball remains patient as a clumsy giant in plus fours takes a swing with his club.

However, after that, the performance returns to defying the pull of gravity. The finale features a group of about a dozen men gracefully balancing on horizontal bars. On the surface, they appear calm and collected like zucchini, but one can only imagine the dreams that fill their minds as they retire to bed.

*Until March 2.

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2025-01-17 01:19

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