Leeds Playhouse
Nov 24th – Jan 27th, 23/24

I have truly just witness’d the art of Operetta almost brought to the fullness of perfection. What a treat! The place was the Leeds Playhouse; the show, Lionel Bart’s Oliver; the time, the first day of Advent, 2023; the result, a massive standing ovation. But before I penetrate the nuts & bolts which created the magnificent technical & symbiotic machinery of the dramaturgical illusion, I’d like to begin with the two thoughts that prosper’d in my mind as I watch’d & joy’d my way thro’ the show.

Firstly, I’m pretty sure now that Oliver is the second best musical, pluck’d from the aether in 1960 via the pen of Lionel Bart, who has been described by Andrew Lloyd Webber as “the father of the modern British musical”. On account of a couple of weak songs by Bart, Webber himself would go on to create the best British musical in the seamlessly excellent, Jesus Christ Superstar.

Secondly, when Charles Dickens wrote Oliver twist in 1838, the British welfare system was barely in it’s proto-infancy, & it’s amazing to see a character like Fagin, basically providing food & shelter for desperate orphans. Alright, they’ve “got to pick a pocket or too”, but at least they were being cared for, if only thro’ functional dysfunctionality. Shame on you Victorian Britain!

…& so to the show. The ensemble forg’d by Leeds Playhouse for their Oliver is a bit like when Brian Clough created the Nottingham Forest team that won the championship & two European Cups in the late 70s – drawn from everywhere & compacted into a 24 carat diamond of quality. The Sowerberry couple, for example, were Scottish & Brummie.

Oliver himself was a wee cuteball of a lad, bristling with a mature magnetic presence; the Artful Dodgy’s cockney accent was astounding; Bill Sykes was genuinely scary; while Nancy ooz’d pure emotions. The cast was really big, actually, but tight as an ant colony foraging for food. Everyone knew what they were doing, like!

Throughout the performance, the Playhouse utilis’d its round-style, multi-platform’d stage to the fullest – there was stuff going on all over the place, but never confusing, always boiling with voluptuous energy. We’re talking recreating busy Dickensian London, ‘ere, so let’s just call their flawless choreography a wonderful helping of highly organis’d chaos. So much fun to do, & watch!

“These sausages are moldy!”
“Shut up & drink yer gin!”

The songs – Consider Yourself was a masterpiece of happiness -, the costumes, the colours, the music, the just about everything was amazing. Other sweet touches included the piano which accompanied some of the songs being a busted up dusty old thing, while nearby a lady sign’d her way thro’ the whole show for the hard of hearing.

Alas, if you notic’d I mention’d at the start that this Oliver had been ‘almost brought to the fullness of perfection.‘ I use the word ‘almost’ because my favorite song, the one that I actually play at parties when I’m a bit giddy & that, is the 1968 film version of ‘Who Will Buy‘. Unfortunately, the Leeds Playhouse cut it in half, just before it gets funky, & inserted some bloody dialogue. I’m like, perch’d on the edge of my seat just about to leap into spontaneous boogieing & everything, going ‘that’s not what’s suppos’d to happen!’

But that was the only criticism, other than that the Leeds Oliver was a most splendiferous occasion, one of which they should be proud of pulling off – it’s quite an ambitious project -, & an occasion which the whole of Leeds & West Yorkshire should avail itself of – this is not one to miss.

Damian Beeson Bullen