Oliver, Gielgud Theatre Review
The company of Oliver. Photo by Johan Persson.
Written by Franco Milazzo for Theatre and Tonic
Disclaimer: Gifted tickets in exchange for an honest review
With toe-tapping songs like Food Glorious Food, Consider Yourself and Oom Pah Pah, Oliver! remains one of the most iconic British musicals of all time. This latest production from Cameron Mackintosh directed by Matthew Bourne breathes fresh life into Lionel Bart’s multi-award winning classic whilst staying very true to its roots. But will the audience, like Oliver himself, be saying ‘Please Sir, I want some more’? As Fagin says, let’s review the situation.
Mackintosh’s connection to the musical runs deep. He first saw it, aged 13, soon after it opened in 1960. A few years later, he was part of a production as a performer and assistant stage manager. He produced the 1977 revival and has been the guardian and co-owner of the world-wide stage rights for decades. Following a blockbuster 2009 revival at Theatre Royal Drury Lane and its accompanying TV audition series, ‘I’d Do Anything’ to find a new Nancy, this version goes back to its ensemble origins. With a cast of 39 and a 12-piece orchestra led by conductor Graham Hurman, the show fills the stage of the Gielgud perfectly.
Set in early Victorian England and based on the Charles Dickens’ book, the story follows orphan Oliver (played on press night by Raphael Korniets) on his journey from poverty to gang life with Fagin (Simon Lipkin) and Jack Dawkins aka The Artful Dodger (Billy Jenkins) and, ultimately, to redemption. The musical is less gritty than the source material but, despite its lighter tone, still effectively conveys the core themes of poverty, social inequality, good versus evil and nature versus nurture.
The look and feel of this show is stunning and is exactly what one might expect given the calibre of the talent working on it. Designed by Bourne’s long-time collaborator Lez Brotherton, the set is very faithful to the original from 1960 conceived by Sean Kenny. If you saw the show back in the day, the current iteration will appear very familiar indeed, and this is no bad thing.
Towering, multi-level structures, filling the height of the stage and built out into the auditorium, evoke the crowded alleys of Victorian London and convey the feeling of everyone living on top of each other. Clever projections enhance the atmosphere and give us London views from the streets near St Paul’s Cathedral to the banks of the Thames. There’s also a ‘blink and you’ll miss it’ glimpse of Sikes’ infamous pitbull, Bullseye. The decision to forgo a live Bullseye in favour of projections is a decision some may not like but is a thoughtful nod to animal welfare.
The choreography is as tight and as energetic as ever which one would expect from Bourne. This production does, however, make some small tweaks, such as reordering the songs. This may disorient superfans but doesn't materially disrupt the plot or pace. As Dodger sings ‘Consider Yourself At Home’, watching the show, one might feel exactly that. Oliver! feels like a warm homecoming rather than a reimagining.
All the performances were strong throughout from the whole cast. The ensemble, swings and Fagin’s gang were a joy to watch and hear. The youngest ones in the cast were incredibly talented and looked like they were having a blast. Korniets’ Oliver is suitably sweet and good-natured and performed his role beautifully while Billy Jenkins plays the Dodger as a cheeky chappy with great energy. Mr Bumble (Oscar Conlon-Morrey) and Widow Corney (played by Kate Secombe, whose late father, Harry, played Mr Bumble in the film) make a delightful pair. Their slapstick antics and rendition of I Shall Scream were a delight.
Sowerberry (Stephen Matthews) gives brilliant gothic vibes as the undertaker. Nancy’s sidekick Bet (Isabelle Methven) has a beautiful voice and holds her own alongside older and more experienced actors. Sikes is suitably chilling though we were missing some tenderness to balance his menace and to give a reason for Nancy to love him. Shanay Holmes gives us a strong, practical Nancy with a heart of gold. She owns the stage during Oom Pah Pah and gives us a particularly heartfelt version of As Long As He Needs Me.
Lipkin plays Fagin as suitably amoral when in all manners related to thieving but shows his kinder side when it comes to looking out for the street urchins in his care. He brings humour and energy to his role and his bouncy demeanour is quite a few country miles away from how Dickens envisaged “the very old shrivelled” character. The role gives Lipkin a platform to flex his many skills: his alternate career as a magician comes in handy when demonstrating his pickpocketing skills in You’ve Got To Pick a Pocket or Two while Reviewing The Situation is a real treat that shows off his comedic abilities and his skilful singing.
Oliver! is a known and trusted musical and, in the hands of Mackintosh and Bourne, this production has been put together by a known and trusted team, so there are no big surprises here. The result is a polished, gorgeous-looking show with its blend of timeless music, sharp choreography and heartfelt performances. You’ll be leaving the theatre with a spring in your step, humming those memorable tunes and, like our title character, wanting more.
Playing at Gielgud Theatre until 29 March 2026. Book your Oliver tickets with London Box Office.
★ ★ ★ ★ ★
