Although the musical Oliver! is quite closely based upon Dickens' novel, it is by no means as dark in tone. After being sold into slavery to an undertaker, the runaway orphaned boy is introduced to Fagin's thieves den by the Artful Dodger, chief amongst Fagin's boys and girls, not by the villainous Monks, as in the novel. Rather than the evil rogue who is destined to be hanged, this Fagin is a rascally, humorous scoundrel whose connection with Bill Sykes, a complete blackguard, indicates his basic wickedness.

Sykes' girlfriend, Nancy, takes pity on the innocent Oliver and, because she shrinks from her own criminal path in life, she arranges a contact with Brownlow, Oliver's guardian - and really his grandfather. Apart from the Brownlow household, the show is set among, and peopled with, low-life characters. Significantly, as in the novel, the stage must be peopled, not, as in many shows, with a chorus, but with characters.

There are numerous settings for the melodramatic and comical action in the slums and the streets of London. The period is early Victorian so props, costumes and furnishings should be suitable to the time.

The score is replete with familiar and popular numbers There are three big production numbers in addition to solos and small ensembles while atmospheric orchestral pieces underpin the action.

PRESENTATION.

Behind a ‘brick’ painted proscenium arch there were black drapes at one and two. A plain backdrop was lit according to location. There was a brick-supported bridge-like structure U.St.C. that, with adaptations, successfully created locations indoors and outdoors: the undertaker's establishment and London Bridge, for example. Two corner truck settings were introduced D. St. R&L, Fagin's chimney corner and Bumble's household serve as two suitable examples.

Because location changes frequently, and because there is evidently no fly tower over this stage, stage management is constantly employed in making changes manually. Complicated settings are time consuming, so where the settings were kept simple, rapid change was possible. On other occasions, especially where full-stage settings were necessary, changes took a long time, at several points being incomplete by the time they were revealed! While it is appreciated that little technical rehearsal is possible, experience of this venue ought to have indicated the need for the utmost simplicity in design. The programme notes indicate that this was Mr Courage's sixth connection with TAOS- but were they as director and designer? Nor, seemingly, was there detailed consultation with the MD about bridging lengthy enough to cover scene changes. As a result, stage management had to undertake far more than was feasible and the upshot was a desperate scramble despite the best efforts of a very hard­ working stage crew.

A table that featured in the opening scene was neatly expanded to form a refectory table for the second scene. In the undertakers, coffins, standing on end were outlined with a large real one St.R. to contain Oliver. Ragged cloths were used in Fagin's lair and a small bed was used for the invalid Oliver. The Seller's baskets etc. were decorative and looked appropriate. A portrait of Oliver's mother ought to have been in evidence.

LIGHTING

Before evaluating the lighting of the show, it is appropriate to consider the difficulties. Firstly, the stage at this venue is exceptionally wide requiring a great many lamps to light it fully. Secondly, there were obvious limits to the budget so that the technician had to make do, to simplify, to do nothing that wasn't essential and to use his equipment with experience and skill to a) create an overall wash over the complete acting area, b) light characters from at least three directions to give them substance, and c) create atmosphere.

What he did was to hang the majority of his lamps FOH with fewer on stage, excepting those used to light the backdrop. The decision to light the backdrop in strong colours was a mistake both technically and artistically. Simple variations in the level of light in one colour would have sufficed while the garish colours selected were more appropriate for a cabaret than this melodramatic, realistic story. The overhead stage lamps were too few in number to balance the light from FOH. And because of the use of strong filters, much of the light coming from the auditorium was diminished, weakening the effect. The result was a seriously underlit production where many scenes appeared to be illumined from the front only, giving a flat, two-­ dimensional effect - and that often at low intensity preventing our perception of detail. We never, for example got a good look at Fagin. The most interesting bit of lighting involved a lamp placed at stage level.

The responsibility for inadequacy falls heavily on the director who should have concentrated the action St. C. where such lamps as could be afforded could have been concentrated. He should anticipate such things.

SOUND AND EFFECTS

Pick up was by a small number of radio body mikes and by stand mikes across the forestage. Collection was very variable therefore because constant adjustment between both varieties of pick up must be made. Relay was as good as could be managed and balance with the orchestra was reasonable. The `smoke' effects were atmospheric.

COSTUME

The orphan's costumes were suitable in design but far too clean. Fagin's children looked right, more ragged, dressed in a splendid hotch-potch of randomly acquired articles. Principals were suitably and pleasingly costumed according to character except for Nancy's second costume which was obviously modern and of silk! Only in the final murder scene were chorus members suitably costumed as distinct types from the general population. Earlier, there had been some efforts in that direction, notably the tradespeople and the police, but others appeared in the type of brightly-coloured chorus costume that belonged in a musical of the Oklahoma variety - nothing whatever to do with Victorian streets and drinking dens.

MAKE UP

There was not enough ingrained grime around but the grotesque characters had made a serious effort to achieve bizarre incongruity. Fagin's beard looked terribly false.

ORCHESTRA

The first consideration for the MD as regards the orchestral composition is to recognise the musical style of the score. This musical is very robust and the reduced score available calls for balance between strings and wind on the one hand and brass and rhythm on the other. The composition of this orchestra was like that of a chamber orchestra with a pale, refined tone accompanied by a steady thump from a drum. The melodramatic nature of the action and the emotion in this musical must be reinforced by the music. What is going on onstage must be going on in the orchestra. It must also establish and maintain the tone. The strings and wind could adequately convey purity, innocence and a Jewish quality but that sound could not create the exuberance of the production numbers, the high emotion of a character like Nancy or, still less, the ominous fear and melodrama in the action. A small wind/string ensemble simply hasn't the guts for tumultuous, violent or impassioned numbers. It is vital to select the right combination of instruments to sustain the dramatic mood.

Playing was well-tuned, in unison and atmospherically expressive in the softly lyrical numbers. There was confidence and relaxation from the musicians. While the conducting of both orchestra and singers was positive, alert and supportive, the tempo of a number was sometimes slow - especially for the less able singers in the cast. Balance was good in the quiet numbers.

PRODUCTION

The atmospheric orchestral introduction really ought to be used to lead us into the story. The production opened with the orphans at work - a Dickensian idea that suggested drudgery - despite lyrical singing. The scene changed swiftly to the refectory where the score was used to create regimented business as food was served. Oliver's request was suitably staged but the chase was limited and the children, far from seeking to aid the heroic Oliver, helped to catch him.

Corney and Bumble played their scene, the funniest in the show, as straight comedy. But, since they are both Dickensian grotesques, they should have been playing broad low comedy, aided by lots of humorous stage business. The scene moved to the funeral parlour, a huge setting with plenty of room for action best exploited in the fight between Oliver and Claypole. There was no need for linear staging in That's Your Funeral. Full use should have been made of this set with its ghoulish coffins lending themselves to the promotion of spooky moves and nasty surprises. Measuring Bumble was a productive idea performed with relish by the Sowerberrys. The singing of Oliver's Where Is Love was very square but it did convey his vulnerability. An eventful, comical and riotous chase followed accompanied by much screeching in the right exaggerated manner, ending with Mrs Sowerberry stuck fast in a coffin.

Between this scene and the next, underscoring from the orchestra was needed to cover the scene change.

Oliver's first encounter with Dodger took place leading into Consider Yourself, begun with lots of attack by Dodger before becoming a much bigger choral number. The time signature changed markedly during the course of the number creating waltz time which gave rise to the dancing. Light-hearted and breezily, though not inventively, the two boys were thus whisked into Fagin's den. Our view of Fagin was much obscured by a combination of a low level of light, the shadow cast by his hat and his beard. At this, his first appearance, it was important that we had a good look at him. The scenery, full of nooks, crannies and varied levels was extended with the use of a corner truck with a fireplace, stove and Fagin's chair. A jolly Pick A Pocket number followed that included some extremely deft pocket-picking from the children. This was a successful number: it was amusing and very well timed. Fagin's miserly behaviour was emphasised by the lamp, placed low, throwing up a spooky shadow.

The production number, It's A Fine Life made use of more criminal activity in which Nancy and Bet featured. It was cheerfully performed but didn't quite manage the shot-­ in-the-arm that a production number should bring possibly because the dance element was weak. Grouping and choreography and dance skills need to impress. Just how strenuously were the cast rehearsed in dance, one wonders? They certainly needed to develop their dancing to a much more capable level. The choreographer can't do more with them unless they do. The number ended in a pictorial grouping around Nancy. I'd Do Anything was contributed successfully by Dodger whose timing and singing were very well-rehearsed and the style of dance between Dodger and Nancy was very much in line with the heightened, exaggerated atmosphere of the book. The tempo was far too slow to maximise its impact. Be Back Soon completed the act with a splendid exit from the children before the full stage street scene that led to Oliver's capture.

Opening Act II with Oom Pah-Pah, at The Three Cripples, there was an effort to create an essential rowdiness. Nancy was able to produce a coarser `pub' type tone which was echoed by the chorus in this extrovert, rousing and enjoyable number. Bill, who might have been lurking ominously somewhere in the background was not visible from my seat. Was he present? When he appeared for his fearsomely melodramatic My Name, which is intended to establish his wickedness, he merely walked on without singing. If the director chooses to cast a person who cannot sing, then he must show him how to talk his way through the number. Unless it is heard, Nancy has to produce her As Long As He Needs Me out of thin air rather than as a display of incomprehensible and undeserved loyalty to Bill. But she sang this number fervently and passionately in a moving way when the time came.

Mrs Bedwin sang Where Is Love? tunefully and tenderly before Who Will Buy? This, the most testing of choral numbers, was sung musically by singers with good, well­-placed voices and a real sense of the needs of ensemble work. The number developed into a full street scene that needed suitable street activity not simply a dance routine. Back at Fagin's, Bill featured very little. We need to see enough of him to feel fear and to experience intimations of what violence he may well commit. Why on earth was the scene, a filthy kennel of a place, bathed in a deep rose light? Inexplicable! A violin made a suitably ethnic contribution to Fagin's Reviewing the Situation. He took some parts of the number very fast - perfectly legitimate so long as he remained clear - but the MD struggled to keep up. Although he used the whole front stage, only one spot was sufficiently lit.

Sally's death took place in a chair rather than amongst old bedding as one might expect, with a comic Bumble regretting his marriage left to lurk, unlit, in the doorway. The bridge scene was atmospheric with rolling fog. The two figures of Sykes and Nancy needed to create telling shapes as they struggled first in speech and then physically. The murder was neatly managed in a top right corner but Sykes death was too quick for a climax. Remember that action should increase in pace as a climax is approached but slow markedly at the high point. Afterwards, we saw the sort of London characters, the populace we should have seen all the way through.

The director shows a fondness for static, picturesque groups. But the rapidly moving score of this musical does not allow much time for them nor does their artificiality fit with melodramatic realism. He was not able to solve the really difficult problem of this very wide stage satisfactorily, but neither have many others.

THE CAST

OLIVER

Looked very mature for a role that calls for an undersized ten year old. The performance was quietly controlled in movement and he showed some agility. Much clearer, confident singing was necessary.

BUMBLE AND CORNEY

Gave somewhat enlarged performances and tried hard to achieve the grotesque portraits outlined by Dickens. They played heartily, with attack, and their numbers and scenes were amusingly performed.

THE SOWERBERRIES AND NOAH CLAYPOLE

Captured the bizarre freakishness of the family and they treated Oliver with cruel relish. Noah bullied suitably. The moaning tones of Mr Sowerberry combined with his wife's harsh shrillness to good effect.

ARTFUL DODGER

Sang with lots of attack and he delivered his dialogue clearly. His swaggering movement and postures were very much in character. A sly boy who could survive.

FAGIN

For some reason, this performer never seemed quite at his ease in the role. Although suitably costumed, the falsity of the beard rather spoilt the effect of his appearance. He needed an air of twinkling craftiness in his looks and his capers, remembering that the role is unlike that in the novel which is one of deep-dyed wickedness. He did convey a sinister quality though and he sometimes played with relish.

NANCY

Had roughened and coarsened her tone to fit Nancy's life and background. Her delivery in speech and song was robust, passionate and assertive and her numbers were most effectively delivered.

BET

Whose presence was persuasive in the production numbers needed to create a better defined character. Just what sort of a person, other than a criminal, was she? Give her some background and then play it.

SYKES

His presence and his influence was diminished, not because he didn't look the part but because he was too seldom allowed to hover over the proceedings menacingly. He played efficiently and roughly when allowed.

BROWNLOW

Played genially. His readiness to show confidence in Oliver emanated from sheer good will. He needed a shade more refinement but we could believe in him.

MRS BEDWIN

Conveyed sweetness and warmth easily and naturally. Her influence and her performance was benign.

GRIM WIG

Created an eccentric character whose mutterings and mumblings communicated his pessimism and his doubts.

OTHER PARTS

Were played sensibly, clearly and attentively. Most players needed a stronger sense of character and direction about their physical and emotional state at the time. Everyone tried hard, however, particularly the children who entered fully into their roles as either orphans or young thieves. They played with vitality and tremendous enthusiasm and their control was excellent. There was a very small boy in a yellow scarf whose acting skills and purposefulness might have produced an Oliver!

EFFORT, ORIGINALITY AND ATTAINMENT

This was production where a good many corners were cut in favour of ease and simplicity. It was something of a ‘curate's egg’ of a production, that intermittently grasped the atmosphere of the musical.

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