Review: OLIVER!, Gielgud Theatre

After blowing audiences away in Chichester, Matthew Bourne’s addictive version of Lionel Bart’s beloved OLIVER! lands in the West End in truly glorious form.

Even before officially opening, the production had been extended, showing the public appetite and affection for Bart’s musical masterpiece. It must have been a challenge to fit the show onto the Gielgud’s stage after the expanse of Chichester, but every movement, set change and lighting effect looks as though it was made for the theatre.

Bourne both directs and choreographs this brilliant company to stunning effect. Whilst retaining the joy and exuberance of Bart’s music, it does not shy away from the dark heart of child poverty, exploitation and violence of Charles Dickens’ story. It also manages to have moments of pure theatrical comedy. It is a deft and masterful achievement.

Simon Lipkin has built up a solid body of work over the years, but his Fagin is surely a career-defining moment. Much younger, more vibrant and channelling something of Captain Jack Sparrow, Lipkin conveys the character with real knowingness. He is very comedic, with deliberate breaking of the fourth wall, but we also see an unsure and lonely man behind the mask.

Fagin has always been problematic with Dickens himself referring to the character as “a very shrivelled Jew”. Lipkin, who is of Jewish heritage, plays around beautifully with the Yiddish intonations and choreography without a hint of cliché. In a cast of incredibly strong characters, Lipkin is simply awesome.

Billy Jenkins is a suitably cheeky chappy as The Artful Dodger, with some fantastic dancing ability. His rendition of “I’d Do Anything” with Shanay Holmes' Nancy is genuinely charming. Oscar Conlon-Morrey is incredibly funny as the ridiculously over-the-top Mr Bumble and Katy Secombe has great fun channelling the horrible Widow Corney.

In a rotating cast of Olivers, press night saw Cian Eagle-Service take the role. So impressive in The National Theatre’s The Witches, Eagle-Service shows his talent is only growing. It remains slightly baffling how Oliver speaks so well and has such perfect manners after being brought up in a workhouse, but “Where is Love?” and “Who Will Buy?” are beautifully performed, with genuine feeling and real precision. 

Bourne has said that you play with a show as beloved as OLIVER! “at your peril”, but he has moved a few scenes around to clarify the relationship between Nancy and Bill, with a short new scene where they get to establish their lustful love for each other.

Shanay Holmes is in truly fabulous voice as Nancy.  Her rendition of “As Long As He Needs Me” contains all the reasoning as to why she stays with Bill, even though you are willing her more than ever to escape. The domestic violence she suffers at the hands of Aaron Sidwell’s chillingly thuggish Bill Sikes remains starkly shocking, but a little more menace from Sidwell would only add to the chilling and very damaged character.

As befitting his reputation as a masterful choreographer, Bourne’s whole show is full of huge dance numbers, the tightest of routines and energy bursting from every pore of each cast member. The ensemble, including the rag-tag group of orphans move playfully, but every motion is deliberate. “Consider Yourself” and “Oom Pah Pah” are fluid, naturally chaotic and genuinely joyful. It helps that there's not a dud song in Bart's score and Graham Hurman gives masterful exuberance to a small yet perfectly formed orchestra.

Designer Lez Brotherston retains the hard-working revolve from Chichester, moving us seemlessly from the grey dampness of Victorian London to the cosy glow of Fagin's lair. Intricate sets appear and disappear without warning, all lit with real thought and care by Paule Constable and Ben Jacobs.

On a drizzly and depressing night in January, I cannot think of a more uplifting and perfectly performed show to lift you out of the gloom. Consider it a hit.

Read our interview with Aaron Sidwell, who plays Bill Sikes, here.

Oliver! is currently booking at the Gielgud Theatre until 28 September

Photo Credit: Johan Persson

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