PUBLISHED 28 January 2022
There were long standing ovations which were richly deserved for a tour-de-force production of ‘Oliver!’ at the Lowther Pavilion. This West End stage-hit and film was based on the famous Dickens novel about an orphan expelled from the workhouse, who ends up wandering the streets of London until befriended by a thieves’ kitchen of pickpockets. The novel ‘Oliver Twist’ is a dark exploration of the two sides of London life – the haves and have-nots. Dickens never shies away from depicting the very worst of humanity as it existed in the metropolis of his era: its lack of basic hygiene, the punitive judicial system, the infant mortality.
To fully enjoy this production, our cosseted Fylde-coast audience would need to cast aside its modern-day luxuries and try to picture the social and political scene back in the 1830s - a time when London was a crowded ‘Great Wen’ choking on its own toxic pollution; street crime was rife and often violent; there was a huge gap in life expectancy and quality of life between the rich and the poor; the Russian Empire fought cruelly against its weaker neighbours on its borders; social care of the fragile old, sick and young was considered unglamorous and was poorly paid; much of the poor depended on charity and the powerful (usually the product of a few prestigious schools) ruled luxuriously and hypocritically - basically saying to the rest of the populace – ’do what we say not what we do’.
Thank goodness we live in the modern world where such things are unthinkable.
The hit musical, which has proved so popular with worldwide audiences, was tackled by an ensemble of young people whose talent and exuberance wowed the audience in a two-hour spectacular which sent pulses racing, and provoked laughter and tears in equal measure. Students of all ages in the school have been rehearsing throughout weekends and evenings (whilst still coping with their schoolwork), followed by intense rehearsal on the full stage. I was privileged to see the effort and focus required to keep the show running to time and iron out the blocking when I visited this week. Miss Worthington and Miss Crean were directing operations from the stalls through the mic - sitting side by side in the director’s gallery like David O Selznick and Erich Von Stroheim. Most impressive.
The warmest of congratulations should go to them both for their tireless nurturing of the cast and imaginative staging. To Mr Brown too, must go every accolade for getting the best out of the singers and musicians. And, lastly, a big ‘well done’ to Mr Waterhouse, with a foot in both camps as Director of Performing Arts, overseeing both dramatic and musical proceedings (and providing much-needed refreshments and encouragement when appropriate).
Our imaginations were helped by the wonderful set which picked out the details of early Victorian life very successfully. The use of a white curtained backdrop for the intervening scenes was very effective. An lively audience enjoyed the musical numbers which provide raucous humour (in ‘Oom-Pah-Pah’ there is even audience participation), and pathos (not a dry eye in the house – as they say - when we heard Oliver’s plaintive ‘Where Is Love?’ or Nancy’s ballad to blind loyalty ‘As Long As He Needs Me’), but also sheer beauty (the four street-sellers singing in the round with Oliver observing them from Mr Brownlow’s house was exquisitely subtle). This scene which in the 1968 film was, I feel, the most impressive piece of choreography in modern cinema, is challenging to stage. The tender scene in which the street-sellers – Carly W., Alex W., Keira B. and Charlie S.) were partially obscured but backlit against the white curtain with just the synchronicity of the blending voices will live long in the memory.
Henry C. as Oliver was a wonderful piece of casting. He had just the right balance of humility, bravery and pathos, and his voice was a revelation. Miranda A. as Nancy (ably supported by her fellow courtesan Bet [Alex W.]) combined a fantastic voice with superb stage presence as she wowed the pub crowd and lit up the thieves’ kitchen. Here was, I’d we’d expect plenty of tankard-bashing, table-standing and skirt-flinging (quite right too). Oliver A. in his final production for us was a marvellous oleaginous Fagin, cringing around the stage and drawing huge applause for his impressive solo performance of his self-reflective ballad ‘Reviewing the Situation’. Oliver showed well Fagin’s personal battle between his peaceable inclinations and his naked greed. His sister Harriet, as the Artful Dodger’ showed such versatility and energy in the role that she was utterly believable throughout. The limber Dodger combined cheekiness with a scampish energy that was very winning. What a talented family!
Great comedic contributions were made by Noah M. and Zara B. (unrecognisable in her make-up and wig) as the sinister but chaotic, Mr and Mrs Sowerbury. Their daughter Charlotte (Zoe B.) amused us with her flirtatious chase of the bullying Noah Claypole (Charlie S.). As if to prove that none of women in this show are very good pickers of partners, Keira K. and Eloise B. also ramped up the humour, playing Mr Bumble and Widow Corney respectively, though not respectfully – those selfish characters undeserving of any regard. I very much enjoyed Widow Corney’s impressive Joan-Collinsesque puffball sleeves and high heels which made her tower over the erstwhile physically imposing Bumble – a nice role reversal.
In contrast to the knockabout humour of those pairings came the malevolent Bill Sikes (Archie S.) whose menacing presence and outrageous treatment of Nancy was very effectively conveyed. His deeply unrepentant character came over with growling authenticity. Wake up and smell the coffee, Nancy: he doesn’t ‘need’ you - He needs locking up. Don’t worry – he gets what’s coming to him: spoiler alert.
Our chorus of young people (many from years 7 and 8) must be exhausted from those long rehearsals but you would never guess so from their amazingly smooth choreography and skilful support in the big show-shoppers ‘’Consider Yourself’ ‘Who Will Buy?’, It’s a Fine Life’ and ‘Oom-Pah-Pah’). All credit to them, as they illuminated and energised the stage – providing such vital support to the principals.
Ben S. (in his last show for us) made a sophisticated and sympathetic Mr Brownlow([he has the figure to carry off the incredibly lacy shirt front he had to sport), assisted by Liberty D. as the kindly Mrs Bedwin. Alex C., as Doctor Grimwig (who never knowingly gets a symptom or diagnosis correct), provided good humorous support.
Congratulations too to our band, under Mr Brown’s baton, who tackled the score so seamlessly and effectively. Their accompaniment was just right in keeping things ticking over without drowning out the voices. The composer, Lionel Bart, was well used to Middle European klezmer music, and the reeds tackled these evocative tones very expertly.
The volunteers at Lowther did an excellent job in looking after the theatre and keeping everyone topped up with food (‘glorious food’ obviously) and drinks. AKS staff and parent-volunteers pitched in with raffle ticket sales and make-up assistance, and the technical team did an excellent job with staging and lighting. So many varying skills and disciplines are needed to pull off a show like this, but I think everyone upon ‘reviewing the situation’ would agree that the time and effort was well worth as four packed houses clapped until their hands were sore to mark their enjoyment.
David Smyth
Teacher of English, Senior School.