Berkshire on Stage

The Sharon Playhouse in Sharon, Connecticut, is currently presenting Lionel Bart’s Oliver! a  show seldom produced on local stages.  Presented on Broadway in  1960 it won a Tony for Bart’s score.  This was followed by a movie in 1968 which won the Oscar for best picture.  The most recent New York presentation was a scaled-down version as part of the Encores series earlier this year.  Sharon’s production has innumerable reasons to be seen and enjoyed. 

Charles Dickens’ second novel Oliver Twist was written in 1838 and is the basis for the show.  It is the story of young  Oliver (Ivan Howe) remanded to a London workhouse (based on Dickens’ own experiences) where he and other residents are mistreated.  After being sold to an undertaker he runs away into a  series of somewhat dangerous adventures.  First, he finds himself in the midst of a group of young pickpockets mentored by the elderly scamp Fagin  (James Beaman.)  Some of the other characters that frequent Fagin’s hideaway are Nancy, (Gina Naomi Baez) a presumed lady of the streets, her friend Bet (Vivian Burnham) and the villainous Bill Sikes (Justin Michael Duval).  Bungling his first attempt at picking a pocket, Oliver faces a clouded future.  Ultimately, he finds security, joy and love.

The utilitarian gritty environment by TJ Greenway, greets the audience with a  murky, yet handsome, atmosphere, setting a proper mood for what is truly a dark story.  A huge gate all the way downstage represents the entrance to the workhouse and the show, while flights of steps on either side of the stage are joined by a crosswalk creating numerous entrance and playing areas.

The opening number “Food, Glorious Food” has the workhouse children rushing onstage and down the aisles (which are used often and effectively) to polish the gate and do other chores.  Oliver’ s tribulations begin with the famous line, “Please sir, may I have some more?”  Directed by Michael Kevin Baldwin and choreographed by Michelle Lemon, it is a dynamic opening and the first of several thrilling production numbers.

This group of youngsters, mostly in single digits, is extraordinary especially young Howe and Phoebe Amankwah’s Artful Dodger.  They all deliver lines, sing and dance with aplomb in “…Food” and “Consider Yourself.”  Other music and dance highlights include Oliver’s sweet “Where is Love,” Fagin’s sly “You’ve Got To Pick A Pocket Or Two,” Nancy  and Bet’s “I’d Do Anything,” the ensemble’s raucous “Oom-Pah-Pah” and the initially wistful “Who Will Buy” which evolves into a production number, and Nancy’s emotionally-driven “As long As He Needs Me.”

The performances are universally impressive.  Young Howe has a pleasant singing voice, but it is his strong stage presence that commands attention.  An important talent is that he knows how to listen and react to his acting partners.  Beaman’s Fagin is a joy to watch despite his character’s choice of profession.  His eyes sparkle as he delightfully prances across the stage in “You’ve Got To Pick A Pocket…” and “Reviewing the Situation” when he addresses members of the audience.  

Baez has a splendid voice as do most of the other principals.  She is obviously enjoying “It’s A Fine Life” as she entertains the gang, but it’s her ballad “As Long As He Needs Me” that fills the theatre, and maybe even the parking lot, with glorious sound.  Her Nancy concerns us as she clings to Bill Sikes knowing he is a vile human being, but we cheer her on as she entertains the boys and gives special attention to a less-hardened Oliver.  In his first appearance as Sikes, Duval exudes evil  from every pore of his body.  As he slithers down the aisle, he sneers ,“My Name,” a song fraught with malevolence.

The secondary characters support the principals in their various scenes and the songs they perform.  In particular, John Bergeron as Mr. Bumble and Savannah Stevenson as Mrs. Corney, overseers of the workhouse, are delightful in their “I Shall Scream” duet while Bergeron sings the plaintive “Boy for Sale.”  “That’s Your Funeral” is nicely done with a comic touch by the undertakers Mr. and Mrs. Sowerberry (Dan Radzikowski and Johanne Keston.)  Vivian Burnham’s Bet is a strong complement to her friend Nancy, especially in “I’d Do Anything.”

Mr. Brownlow, Oliver’s savior, a moral and gentle man, is given a solid performance by David Fanning. Ms. Lemon’s choreography is disciplined considering that many of the younger cast members are not dancers, but they acquit themselves beautifully under her direction.  The big production numbers are scintillating.

The staging by Baldwin is fluid capturing the pace of the show and underlining the tone of the work.  He has employed a true theatrical sense to keep the play moving and building tension.  Many of the scenes take place on the streets of London.  In addition to those directly involved in the scene, Baldwin has others walk by either paying attention or not, thereby enhancing the sense of the streets and reinforcing the time and place. The eight-piece orchestra led by Jacob Carll has a full sound in accompanying the various songs and a softer quality as an underscore for various scenes.

As mentioned, the set is integral in creating the tone of the show.  Set changes by the cast and backstage technicians are smooth and swift helping to drive the plot.  The lighting by Alix Lewis uses tones that complement each situation and focuses on those involved in the major conflicts. Costume design by Michael Bottari and Ronald Case are indicative of characters’ sociological standing.  They are bland or bold for the lower classes and stylishly muted in color for those of the upper social strata.  

Three caveats: due to the literary style of the original work, the script is somewhat corny and melodramatic.  The actors speak with Cockney accents, but some are so thick it is difficult to understand pieces of the dialogue.  This is not a show for very young children!  There are several scenes with varying degrees of violence and some of the relationships may not be understood by youngsters. 

The show runs two and a half hours with one intermission.  A mature attention span is required. Regardless, this Oliver! is an exciting and memorable experience.

Oliver!; Book, music and Lyrics by Lionel Bart; Director: Michael Kevin Baldwin; Choreographer: Michelle Lemon;  Music Director: Jacob Carll; Cast: Ivan Howe (Oliver) James Bearman (Fagin) Gina Naomi Baez (Nancy) Justin Michael Duval (Bill Sikes) Phoebe Amankwah (The Artful Dodger) John Bergeron (Mr. Bumble) Savanah Stevenson (Mrs. Corney/Strawberry Seller) David Fanning (Mr. Brownlow) Vivian Burnham (Bet) Dan Radzikowski (Mr. Sowerberry) Johanne Kesten (Mrs. Sowerberry/Matron) Jenna Leigh Miller (Charlotte/Milkmaid/Old Sally) Xavier Turner (Noah Claypole) Grace Hamashima (Mrs. Bedwin) Jeffrey Konowitch (Dr. Grimwig) Tyler Miranda (Knife Grinder) Jack Canevari & Nick Lamberti (Ensemble) Kellan Lockton, Jackson Magyar, Wolf Donner, Lyra Wilder, Emma Sisk, Kennadi Mitchell, Maris Jenter, Jack Lehner, CC Stevenson, Emily Hughes, Harriet Luongo (Workhouse Orphans/Fagin’s Gang) Richie Crane, Tyler Rosenblum, Alison Van Riper, Maggie Flannery, Victoria Brooks, Jessica Sonner (Workhouse Orphans/Teen Eensemble); Set Design: TJ Greenway; Lighting Design: Alix Lewis; Sound Design: Daryl Bornstein; Technical Director: Leonard Lively; Stage Manager: Melissa Nathan.

Running time: 2 hours, 30  minutes  – one intermission; August 4 -20, 2023; 49 Amenia Rd., Route 343, Sharon, CT 06069; 860-364-7469; info@sharonplayhouse.org sharonplayhouse.org