Review by Daz Gale
⭐️⭐️⭐️⭐️⭐️
There are few shows I can think of as iconic and timeless as Lionel Bart’s Oliver! Entertaining multiple generations since the 1960s, it is now making a glorious return to the West End in a new production from Cameron Mackintosh. Having grown up with the movie but surprisingly having never seen it on stage before, I considered it a no-brainer to head down to the Gielgud theatre to review the situation, but would this production fill me up or would it leave me wanting more?
The musical adaptation of Oliver! debuted in the West End in 1960, being turned into a movie in 1968 and being revived in the West End and around the world countless times in the 60-odd years since. This new production premiered at Chichester Festival Theatre for a short season last year and now transfers to London, marking its first appearance in the West End since 2011. Based on Charles Dickens’ novel Oliver Twist, it tells the story of the titular Oliver, an orphan who finds himself in a workhouse only to be sold to an undertaker. Escaping to London, he finds himself amongst a group of pickpockets and seemingly finds acceptance, but is all what it seems and where exactly is the love he yearns for?
Produced and reconceived by producer Cameron Mackintosh with director and choreographer Matthew Bourne, this production of Oliver! manages to retain the charm and essence of the story while bringing its own twist, introducing new elements into the mix. Never so extreme that it feels at odds with the original, instead it creates a take on the story that feels simultaneously fresh and familiar. Being a Mackintosh production, there are elements to it that feel similar to both Mary Poppins and Les Miserables, with the staging itself feeling like a sister show to next door’s Les Mis. Repeating the magic formula that Mackintosh does so well, it really is near impossible to fault any element of this in a production that ticks all the boxes.
One of the strongest aspects in this production of Oliver! Is in Matthew Bourne’s inspired direction. Making the most of Lez Brotherston’s stunning set design, Bourne uses glorious transitions, a brilliant use of a revolve and even a stage that protrudes out into the audience to create a production that bursts with life and energy throughout. Bourne’s choreography also shines, putting a new spin on some of the most iconic numbers in the show. While there is no shortage of showstoppers in this production, it is the staging of classic number ‘Consider Yourself’ that proves the standout – pure theatrical joy, it is impossible not to beam during this number which Bourne pulls off with panache in what has to be one of the single greatest sequences you will see on any West End stage at the moment.
Every element of the production matches the high level set elsewhere with Brotherston’s set coming to life thanks to George Reeve’s effective video design. Providing gorgeous backdrops and subtle nods elsewhere (look out for the blink and you’ll miss it appearance of Bill Sikes’ dog in an inspired touch), it works beautifully with Paule Constable’s lighting to create a show that is always a thrill visually. Adam Fisher’s sound design is equally thrilling, with crystal clear sound making those big musical numbers sound as glorious as ever.
Bourne breathes new life into Lionel Bart’s classic music and lyrics, with many a musical number providing moments that aren’t just wholly satisfying no matter how familiar you are with the show, but jaw dropping in its execution. From the fantastic introduction of ‘Food Glorious Food’ to the magical ‘I’d Do Anything’ and sheer brilliance of ‘You’ve Got To Pick A Pocket Or Two’, there is barely time to catch your breath before the next incredible number begins, complete with breath-taking staging. The meticulous approach to Bourne’s direction of this production reaches dizzying heights with a gradual start to the second act before the interval draws to a close, suddenly exploding into a rousing and joyous ‘Oom-Pah-Pah’. Oliver! Is a show that sets the bar impossibly high from its opening moments and never waivers even for a second.
As incredible as the production and direction are, there is one aspect of Oliver! that is even better and that is in what could possibly be the strongest cast you are likely to see in the West End. Four children split the title role with Raphael Korniets taking on Oliver for the performance I was reviewing. A truly gifted young performer, he demonstrated beautiful vocals on ‘Where Is Love?’ and a wonderful charisma throughout his performance that made his performance joyous to witness.
Oscar Conlon-Morrey is wonderfully over-the-top as Mr Bumble in a performance that dominates the beginning of the show. Katy Secombe has a touch of her time as Madame Thénardier (no bad thing) as Widow Corney, forming a fantastic double act with Conlon-Morrey on ‘I Shall Scream’ and an interesting yet highly comedic dynamic when they reappear together in act two, providing some of the more humorous aspects of the production. Billy Jenkins delights as the Artful Dodger – in a faithful take of the iconic character, he performs with a twinkle in his eye, effortlessly leading the pack on two of the biggest numbers, ‘Consider Yourself’ and ‘I’d Do Anything’.
All pretty much exceptional in their own right, there are two undoubted standouts in the cast. The first is Shanay Holmes whose phenomenal turn as Nancy needs to be seen to be believed. Beautifully displaying the complexities and contrasting nature of her personality, Holmes delivers a performance full of depth and emotion. That emotion carries through on her big musical number ‘As Long As He Needs Me’ – performed with Holmes’ incredible vocals, the vulnerability and honesty carried through her performance led to a raw and moving rendition that will stick with me as long as I live.
Though Oliver’s name is in the title, this is very much the Fagin show as Simon Lipkin moves on from simply picking a pocket or two to stealing every scene he finds himself in. In what can only be described as a career best performance, Lipkin isn’t just on fine form, he is at the top of his game. Charismatic, hilarious and impossible to take your eyes off of, his attempts to bring something different to Fagin have paid off substantially in a role that isn’t just true to the original but manages to distinctly unique in some ways. Lipkin’s timing and ability to make moments feel improvised (whether they actually are or not) is a testament to his immeasurable skill as a performer.
Lipkin’s ‘You’ve Got To Pick A Pocket Or Two’ is outstanding in its own right, but it is his performance of ‘Reviewing The Situation’ that becomes the standout in a complete masterclass performance full of humour, honesty and the perfect example of acting through song. Though it may not be quite as iconic as some of the other numbers in the show, this was the performance I left the theatre thinking about. There are many incredible aspects of this production but Simon Lipkin’s performance is the singular best thing about it. Don’t be surprised if his turn in Oliver! nabs him an Olivier!
I’m not exaggerating when I say this is one of the best musicals I have ever seen on stage and certainly the best I have seen in a long time. Getting the balance just right between nostalgia for those who love the original story either on stage or screen and bringing something fresh to the mix, the result is the perfect update of a classic in a faultless production that certainly did leave me begging for more, leaving me in no doubt I will be back soon for a repeat visit. There is no other way to say it – this production is musical theatre at its best. The most glorious show to grace a West End stage in a long while, It’s fair to say I really have taken to this production so strong - consider it a massive hit!
Oliver! is currently booking at the Gielgud Theatre until 29th March 2026. Tickets from www.oliverthemusical.com
Photos by Johan Persson
Comments