Lionel Bart took Charles Dickens’ story, “Oliver Twist,” and wrote the music, lyrics and book to this tale that combines tragedy and joy. “Oliver” premiered in the West End in London in 1960 and ran successfully on Broadway in 1963 with many tours and revivals. “Oliver’s” music can be haunting and enjoyable. An excellent movie version was released in 1968 directed by Carol Reed. In this production, tiny, 9-year-old gamin gal Tegan Leong flawlessly plays a captivating Oliver with a winning personality and generous energy.
Lionel Bart took Charles Dickens’ story, “Oliver Twist,” and wrote the music, lyrics and book to this tale that combines tragedy and joy. “Oliver” premiered in the West End in London in 1960 and ran successfully on Broadway in 1963 with many tours and revivals. “Oliver’s” music can be haunting and enjoyable. An excellent movie version was released in 1968 directed by Carol Reed.
In this production, tiny, 9-year-old gamin gal Tegan Leong flawlessly plays a captivating Oliver with a winning personality and generous energy.
The abused Nancy is well carried by Suzanne Guzzetta who brings in a strong performance in fine voice and delivery with “As Long As He Needs Me.”
Jason Harris gives us a Fagin we can love and enjoy in a delightful performance along with Chris Goller who delivers the nefarious Bill Sykes with believability and apprehension.
The large cast (50 plus) gives 110 percent with what they are given to work with. “Consider Yourself,” “Pick A Pocket Or Two,” “I’d Do Anything” and “Reviewing The Situation” are delightful and amusing. The movingly, plaintive “Who Will Buy” and “Where is Love” are beautifully presented.
Director Joanna Evans and choreographer Jyovonne Montosa move this large cast on the small stage with smoothness that almost defies description.
The unsung heroes are stage manager Larry Tom, stage hands and backstage people who make the production work. They should never be overlooked.
Scott Lynch’s interesting, flexible and changing set give the mood of Dickens’ Victorian England without being obtrusive. Matthew Hendrickson’s creative lighting and Mary Doktor’s variety of costumes that fit the time give the production a fine touch of authenticity.
Musical director Carol Harris is a star onto herself, conducting this difficult score without missing a cue or moment. She bonds with her nine fine musicians who give this production a professional feeling community theater seldom offers.
“Oliver” is dark, well-done and will entertain.
