OLIVER Twist is a sombre novel so you would expect it to make a sombre musical.
How sombre depends on how the cast handles it: too jaunty and it loses its point; too slow and it becomes dreary. That is the risk for a story that has a boy sleeping among coffins and ends with a leading lady dead on the stage.
No wonder then that as the audience made their way out at the end they commented more on the quality of the production rather than on how much they had “enjoyed” it.
The quality was very good – and at times excellent. ‘You’ve got to pick a pocket’ was especially well done, with Fagin (Raymond Williams) and the bairns in Fagin’s gang. So was the verbal fight of a truly frightening Bill Sykes (Steve Sadler) and Nancy ((Andrea Thacker).
Humour is needed to stop the show descending into tragedy and it was supplied expertly in Mr Bumble’s (Bob Lockwood) exchanges with Widow Corney (Maureen Gillie). Another burst of humour, strangely enough, was the scene in the Funeral Parlour with Oliver (Lewis Boyce, Rory Fairbairn), in the coffin and Mr Bumble accusing Mr and Mrs Sowerberry (Laurie Pettitt and May Jappy) of overfeeding the boy.
Colour and grace were also provided; for instance, in ‘Who will buy’ where clever stage management charmed us with a subtle tableau staged by the chorus, through which one of their number slowly glided. Also effective was ‘I’d do anything’ with the Artful Dodger (Angus Watt), Nancy, Bet (Carmella Williams) Oliver, Fagin and Fagin’s Gang. Bright and lively too, was ‘Consider yourself’ with The Artful Dodger, Oliver and chorus.
The bairns in the workhouse had a much harder task to convey the dull grind of the place without getting the audience thoroughly depressed. They succeeded, and ‘Food, glorious food’ was a nicel balance of charm and poignancy.
The principals all did well. I was impressed by the richness of Laurie Pettitt’s voice in ‘That’s your funeral’ and the performance of Andrea Thacker in the difficult role of Nancy. We must also thank Bob Lockwood for a Mr Bumble who gave us much-needed comic relief when things were getting grim. Raymond Williams was splendid and convincing as Fagin. More than one of his audience thought he was just what they had always imagined Fagin to be.
Special mention must be made of the two Olivers, Lewis Boyce and Rory Fairbairn. What cracking little actors! And not just when they were speaking. I watched them when first introduced to Fagin’s gang and half-expected them to get caught up in the general jollity around them. But no, each (on his own night) sat with a deadpan face and thereby remained in character.
Other supporting roles were well performed by Eilidh Wilson (Charlotte Sowerberry), Lewis Davie (Noah Claypole), Cath Paterson (Mrs Bedwin), George Kay (Mr Brownlow) Campbell McNeil (Dr Grimwig) and Lilian Smith (Old Sally).
This list is particularly pleasing for its mix of old stagers and new talent. Nice touches, too, by individual members of the chorus and by budding talent in the two bands of children. I have in mind the pocket-picking bairns in Fagin’s gang, the cameos in ‘The Three Cripples’ and the mini-solos in the workhouse.
The music in ‘Oliver!’ is kaleidoscopic, swinging from rollicking (like “Oom-pah-pah) through ponderous (like “Oliver”) to melancholy (like “Boy for Sale”). The individual singers and the chorus tackled them all with equal skill, musicality and appreciation of mood.
As did the orchestra, who gave us that authentic sound of a musical that only live music can supply. Our thanks to Margaret Carey and her versatile band of musicians. It included Stephen Bender who is to be greatly thanked for his sterling work as rehearsal pianist.
There was, regretfully, very little choreography, but what movement there was was slick and pleasing. Maybe when we have a bigger stage the dancers in the company will be able to give the delight we know they can give.
The costumes were exceptional. From the drab grey of the workhouse and black of the funeral parlour through the multi-colours of Fagin’s gang to the lovely reds, whites and pastels of ‘Who will buy’ the costumes played an important part in creating the mood of the piece. Mr Bumble’s outfit was magnificent, as was that of Fagin who along with others was a credit to the make-up and hair artists’ art.
The story demanded many changes of scene and thus hard work on the part of the backroom boys and girls. They carried it out so slickly that we didn’t see the joins. The clever use of the raised platform upstage in a number of scenes was particularly ingenious.
Lights played well to the changing moods and sound was, on the whole, just right. There were occasions when the orchestra drowned out the words of the singers but not often. On both of my visits prompt was not needed, but she was there and unobtrusive. As we have come to expect, front of house staff were efficient and attentive.
Many more helped in finance, supplies, hard work and support. to produce this excellent show.
I am not sure why Lionel Bart chose such a grim story for a musical. Nor am I sure why Pauline Greive chose to produce it. Perhaps she thought it would challenge her cast. (It did and they rose to it). Or that it gave the children something to shine at. And we thank her not only for the pleasure that the bairns gave us but also for the experience it gave the bairns.
Or maybe I’m to blame – by asking her to tackle something serious two years ago. In which case, I am sorry. Of course Eyemouth Variety Group can do it! If they can succeed with Oliver! they can succeed with anything!
But next year, Pauline, please, perhaps, could we have something to send us out smiling?
Oh, and many thanks to EVG for giving us 21 years of interesting and entertaining shows.
CAST
Chorus: Katie Blatchley, Janis Boyes, Angela Brading, Yvonne Combe, Joelle Craig, Mavis Eslor, Christine Henderson, Dave Jones, Liz Kane, Tasmin McKechnie, Hannah McLeman, Barbara Pettitt, Karen Short, Ashleigh Smith, Leoke Spouse, Eddie Stewart, Ethne Turnbull, Tamara Turnbull and Daisy Watt.
Workhouse Children: Shona Chapman, Isla Dempster, Katie Dyson, Allison Flockhart, Rachel Frater, Ben Grant, Kirsten Hood, Ailsa Landels, Grant Maltman, Holly Simpson, Mirren Sinton, Shannon Smith, Connor Tait, Ryan Wilson, Ewan Wilson and Daisy Young.
Fagin’s Gang: Camae Aitchison, Robie Aitchison, Dion Boon, Zoe Burns, Alana Crowe, Kirsty Doogan, Katie Dyson, Georgia Giacopazzi, Jamie Grant, Kirsten Hood, Rachel Lauder, Aaron Millar, Erin Robertson, Kaitlyn Shell, Toby Smith, Nathan Smith-Marshall, Alice Taylor, Rhona Wilson, Chloe Wilson and Daisy Young.
Orchestra: Stephen Bender (piano), Pauline Jackson (flute), Brian Jackson, Brogan Miller(violins), Bryan Maynard (Bass), Sam Lord (Clarinet), Willie Dobie (Trombone), David Douglas (drums), Mike Hardy (trumpet), Pamela Toward (percussion).
Back stage and props: The Dream Team and Friends (Alison, Hilary, Joan, Leigh, Linda and Richard).
Scenery: Border Studios.
Lights: James and Karen Battison.
Sound: John Peakman and Reckless Productions.
Wardrobe: May Jappy. Costumes: Utopia Costumes of Dundee
Make-up: Karen Smith, Linda Thompson, Sarah Queenan and Jemma Landels.
Hair: Wynd and Wave
Prompt: Moira Gillie.
Publicity and PA to Pauline: Joan Blatchley.
Posters and Programmes; Steve Sadler @ Intimation
Front of House: Joyce Birne and Friends.
Choreography: Lilian Smith and Pamela Toward.
Musical Director: Margaret Carey.
Producers: Pauline Greive and Andrea Thacker.
BRYAN WEBSTER.
