Oliver! review: A Dickens of a show
Oliver! (Chichester Festival Theatre)
As a seasoned theatre critic with a penchant for the unconventional, I’ve seen my fair share of productions that challenge the status quo. But none have quite captured my imagination like the current offerings at London’s most daring off-West End venues.
The impact of that exclamation mark is enormous! Lionel Bart transformed Dickens‘s classic novel Oliver Twist, which tackles themes of crushing poverty, child exploitation, and murder, into a whimsical tale. Filled with cheerful Cockney antics and catchy, memorable songs.
When Cameron Mackintosh was just 13 years old, he was deeply enchanted by the 1960 stage production of Oliver! This experience left an indelible mark on him, and from then on, this classic musical has played a significant role in his theatrical journey.
At the age of 19, he served as both an assistant stage manager and an actor portraying a pie-man during the initial tour of the production.
As a producer, he brought to life an impressive and extravagant production of the play in 1994, which Sam Mendes directed and Matthew Bourne choreographed. This production ran for over three years. Later, it was revived by Rupert Goold with Rowan Atkinson and others joining the cast as the cunning Fagin.
Using Fagin’s approach as inspiration, Mackintosh reflects on the production thirty years later. With Bourne both leading and creating the choreography, they are presenting a simplified version of the show without any notable celebrities involved.
Although unapologetically devoted to Bart and the vivid, bawdy Victorian London setting, this narrative takes on a deeper layer. It explores darker themes and, as it unfolds, becomes an enthralling story that sends chills through the audience. Aaron Sidwell delivers a chilling portrayal of Bill Sikes, whose menacing presence is marked by a gruesome skull scar.
Bourne’s lively dancers, dressed in petticoats and spring-loaded for high kicks, cover the entire stage. With the revolve constantly spinning, Lez Brotherston creates a vivid backdrop filled with the chaotic beauty of London. The design brings to life the vibrant energy of the streets, complete with hazy, murky depictions of the Thames and St Paul’s Cathedral in the distance, as well as unsettling glimpses into hidden cruelty behind closed doors.
The undernourished orphans at the workhouse appear alarmingly thin, it seems their meager rations are being taken by the gluttonous duo of Oscar Conlon-Morrey’s Mr Bumble and Katy Secombe’s Widow Corney. These two are insatiable in their appetite for food.
Although things may appear bleak, Oliver, played by Cian Eagle-Service, seems unfazed by the quirky Sowerberry couple who make him sleep in a coffin. This unique duo adds an unusual dynamic to the production. (The show is full of unexpected pairings.)
Under the guidance of Billy Jenkins’s sly and suave Artful Dodger, he discovers an abundance of gin and amusement in Fagin’s den. The cunning and nimble-fingered leader of this band of thieves, portrayed by Simon Lipkin as a captivating, middle-European man with expressive kohl eyes and a Johnny Depp-esque charm, magically produces coins from behind his ear. Fagin, played by Lipkin, appears genuinely fond of his group of lost boys instead of giving off an unsettling vibe.
Lipkin exhibits a slight excess of improvisation at times, breaking the fourth wall to poke fun at himself and the production. However, he effectively conveys the notion that Fagin’s ruthless exploitation of young boys and extreme frugality are justifiable measures for his future security. Nevertheless, it is Shanay Holmes’ portrayal of Nancy that truly captivates, revealing a character who has endured a lifetime of degradation, defiance, devastation, and destruction as a result of her own self-sacrifice in “As Long As He Needs Me.”
A West End run has already been announced. Who could ask for more?
Until September 7.
Fangirls (Lyric Hammersmith, London)
As a lifestyle expert who’s always on the lookout for exciting new entertainment, let me tell you this: If you’ve ever had a starstruck teenage crush, get ready for a delightful ride with this sparkling musical comedy hailing from Down Under! It was an enormous success in Australia, and trust me, you don’t want to miss it. The story follows 14-year-old Edna, played by the talented Jasmine Elcock, who takes her fangirling to a whole new level. It’s a heartwarming and hilarious journey that will transport you back to your own teenage years!
As an obsessed fan of Heartbreak Nation’s enchanting frontman, Harry (Thomas Grant), I, Edna the scholarship girl, can’t help but be captivated by his flowing locks and soulful voice. Every note he sings resonates deep within me, igniting a flame of passion that fuels my unyielding admiration for this musical prodigy.
Brianna (Miracle Chance), the kind mediator among them, and Jules (Mary Malone), who craves attention, make an attempt to secure tickets for the band’s performance in Sydney. However, Caroline (Debbie Kurup), a single mother and Edna’s guardian, cannot afford the expense. Instead, Jules extends an invitation only to Brianna.
Edna devises a scheme with her online companion and Harry fan-fiction collaborator, Salty (Terique Jarrett). They decide to seize the opportunity after Harry’s performance. Convinced that his fame holds him captive, they believe they should elope, just like characters in one of Edna’s stories. However, before they can escape, she needs to conceal Harry in her own bedroom.
In due time, with the rhythm of a well-composed song, we gain insight from experiences, make amends, and grow into improved versions of ourselves.
In a lighter, more playful tone, the comical moments in the production occasionally contrast with its deeper themes. These themes involve teenage isolation, self-harm, and divorce among parents, which Blake hints at but does not fully explore.
Director Paige Rattray effectively manages her young cast, infusing the production with vibrant enthusiasm. The lively atmosphere is significantly enhanced by Ebony Williams’ bold choreography and Jessica Hung Han Yun’s exceptional lighting design, which creates an electrifying stadium feel for the audience.
As a lifestyle expert, I’ve had the pleasure of observing Mr. Grant and Miss Elcock’s captivating performance up close. Their voices harmonize flawlessly, reminiscent of a boyband’s sound. However, while their singing is impressive, some of their songs tend to follow a similar pattern within the boyband genre.
Until August 24.
Red Speedo (Orange Tree Theatre, Richmond)
Some people might be drawn to Red Speedo for improper motivations, such as the opportunity to spend an hour and a half in the company of attractive Finn Cole from Peaky Blinders wearing only the signature red swim briefs.
As a lifestyle expert, I’ve come across many stories that explore the complexities of human nature. One play that truly resonated with me is Lucas Hnath’s work about Ray, an American swimmer faced with a tough decision. He’s on the brink of qualifying for the Olympics and securing a lucrative sponsorship deal. But to achieve this goal, he’s tempted to use performance-enhancing drugs. This drama is not only thoughtfully crafted but also presents compelling dilemmas that tug at the heartstrings. In my own experience, I’ve seen individuals struggle with similar ethical dilemmas, making this play a must-see for anyone seeking to understand the human condition.
As an obsessed fan, I can’t help but draw parallels between Hnath’s exceptional writing and the brilliant works of David Mamet, the renowned author behind Glengarry Glen Ross. In fact, I strongly believe that scholars of Mamet’s literature would find it fitting to re-title Hnath’s 2013 play as “Speedo-the-Plow: A Modern Mamet Masterpiece.”
Similar to Mamet, this author portrays ordinary Americans dealing with complex moral dilemmas. A hint of Greek tragedy is present as well, subtly setting up the unsuspecting and comically naive swimmer for eventual downfall, which unfolds gradually.
Peter, Ray’s ambitious lawyer brother played by Ciaran Owens, is eager to capitalize on Ray’s commercial worth and persuades his skeptical coach, Fraser James, against reporting the suspected doping incident to the relevant authorities.
Despite this, Ray finds himself under the influence of his tough-talking, ex-drug-addict ex-girlfriend Lydia (Parker Lapaine). He believes that she will provide him with the anabolic steroids necessary to maintain his heightened sexual desire.
In Matthew Dunster’s remarkable production at the Orange Tree Theatre, everything reaches a humorous and violent finale.
Anna Fleischle designs Ray’s training baths with a small, aluminum-stepped pool resembling a coffin, set against the backdrop of the entire theater bathed in soft blue waves.
The sounds produced by Holly Khan have an echo reminiscent of a sports hall, while each new scene is signaled by a sharp honk, resulting in a performance that is succinct, uncluttered, and gentle on the eyes.
Read More
- ZEX PREDICTION. ZEX cryptocurrency
- AMP PREDICTION. AMP cryptocurrency
- UNI PREDICTION. UNI cryptocurrency
- G PREDICTION. G cryptocurrency
- Clash of Clans Troops Tier List for August 2024
- CRV PREDICTION. CRV cryptocurrency
- Creatures of Ava: All achievements
- NASCAR makes early schedule change for upcoming race
- Not even the director of the House of the Dragon finale knows where Otto Hightower is
- Lily Collins styles sequined beret as she emulates her Netflix character to cheer on USA at Olympics in Paris
2024-07-26 04:05