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Show: Oliver – The Musical
Society: BANOS Musical Theatre (formerly Banstead And Nork Amateur Operatic Society)
Venue: Epsom Playhouse
Credits: Lionel Bart
Type: Sardines
Author: Chris Abbott
Performance Date: 16/05/2018
Oliver!
Chris Abbott | 17 May 2018 09:29am
Oliver!, probably the first show to set the trend for musical titles to be followed by an exclamation mark, is a popular choice for amateur societies who can get together a large enough cast and sufficient numbers of children. BANOS, 90 years old this year, did so for their production at Epsom Playhouse, with two alternate teams as Oliver, Dodger and Fagin’s gang. Many of the adult cast had been in the show before too, and this is a show that is as familiar to audiences as it is to performers. One tip however: it is best not to sit your visiting reviewer with notebook next to the director of the production: a little awkward for both!
The hired set looked good on the large stage and the seven piece pit band under Brian D. Steel were strong and supportive, with an especially effective wind section. There were no real weak links among the cast, although one or two of the smaller roles were rather hesitantly played at the first night, but this may well improve as the week goes on. The sound balance between principals and chorus was a problem at times: the principals were all amplified and audible (occasionally over-amplified in Act 2) but the chorus sounded quite distant and underpowered without amplification. Some performers could also project well enough to not need their mics on, for the dialogue at least.
Francis Radford was a confident Fagin, very much in the Ron Moody style rather than following the lead of more recent performers of the role who have found a different way of playing it; but the audience will have expected a traditional interpretation and this was a strong and well-sung portrayal. Equally strong was Teri-Ann Carter as Nancy, well up to all the acting demands of the part as well as the songs, and receiving the strongest reaction from the audience.
Tom Paine managed to maintain the necessary menacing air as Bill Sykes, despite the eyes of the audience being on his dog for many of his entrances. Others who caught the eye with their effective portrayals included Monica Turnbull as Widow Corney; a full-blooded performance and she certainly needs no mic. The early scenes at the Sowerberrys offer good opportunities to performers, as audiences are less familiar with the songs that did not appear in the film. Paul Bullock and Sue Massingham proved this with their spirited acting and their rendition of That’s Your Funeral. James Goodman was a suitably odious Noah Claypole and is clearly an actor of promise, making the most not only of this role but of his later place in Fagin’s gang.
Director Lynda Barrett-Mercer is an experienced director and performer, knew exactly what she wanted to achieve with this production, and ensured that all the expected moments were there. The many set changes were handled well and good use was made of the multi-level set. The sprightly choreography by Kelly Neilson and Paige-Leanne Fayers was well rehearsed if occasionally incongruous: it was the first time I have seen a hand-jive in a Victorian funeral parlour.
Oliver! stands or falls through the performances of the two young leads however, and at this performance Alfie Turnbull not only looked the part in the title role, he could sing too, and with confidence. He sang Where is Love in a way that showed he knew what he was saying, not always the case in other productions. He is also one of the few Olivers I have seen who looked as if he could have filled the role of the mute for the Sowerberrys: his solemn expression throughout was entirely appropriate. Opposite him was a younger than usual Dodger in the person of Oliver Whiter, in a performance all the more successful by bringing something of a new take on the role. This was an engaging portrait of a complex character.
Fagin’s gang did all that was expected of them but had been rather over-enthusiastically made-up. Rather than the dust of the London streets on their faces, it looked as though they were covered with horrific sores from some plague. The adult chorus seemed less at home than is usually the case with this group, although they were more effective in the tavern scenes. And it would have been nice to have given the young actors playing Charlie Bates – Zack Harding at this performance – a bio in the programme; after all, the dog got one.
A very successful production then of a great musical which offers considerable opportunities for performers and an entertaining evening for the audience. BANOS will move from the Victorian criminal classes to rather more modern ones next year, as they will be presenting Bad Girls the Musical in May 2019.
- : admin
- : 16/05/2018