Anthony Santiago, at front, plays Fagin in Gateway Theatre\u2019s production of Oliver!, which runs until Jan. 4. <\/i>(photo by David Cooper)<\/i><\/p>\n
Charles Dickens wrote Oliver Twist <\/i>in 1837. His eponymous main character, an 11-year-old orphan, has the audacity to ask for more when the workhouse daily gruel is handed out, leading to a series of events that change his life forever. And local audiences will be asking for more, more, more of Gateway Theatre\u2019s offering of Oliver!, the musical \u201cfreely adapted\u201d from Dickens\u2019 novel by Lionel Bart, which plays until Jan. 4.<\/p>\n
A beloved classic, the 1968 screen adaptation of Oliver! <\/i>won the Academy Award for best picture of the year. A revival of Bart\u2019s work is currently playing in London\u2019s West End to widespread acclaim. I predict the same for this production.\u00a0<\/span><\/p>\n The story revolves around Oliver\u2019s journey through the gritty underworld streets of Victorian London, from being an impoverished orphan sold to apprentice a cruel undertaker, to his secondment to a gang of street urchins under the tutelage of Fagin \u201cthe Jew\u201d and, finally, a reunion with his well-to-do family.\u00a0<\/span><\/p>\n Community member Josh Epstein ably directs his 24-person cast, a superb mix of professional and amateur actors (including 11 children), as they enthusiastically sing, dance and cavort their way across Ryan Cormack\u2019s handsome set.\u00a0<\/span><\/p>\n On the dark side of the original story is Dickens\u2019 portrayal of Fagin as a venal, sinister, petty criminal who runs a den of adolescent thieves, teaching them to pick the pockets of London\u2019s elite. Dickens refers to Fagin as a Jew more than 250 times, mostly in a negative way. He defended his choice by stating that he was just reflecting the reality of the time \u2013 that London underworld criminals were almost invariably Jewish. Some say he based the character on Ikey Solomon, a notorious Jewish fence. Over the years, consistently called out by Jewish community members for antisemitism, Dickens eventually apologized and edited out the negative references. Bart, who is Jewish, downplayed any stereotypes of Fagin in his rewrite.<\/p>\n In Gateway\u2019s production, you would not even know that Fagin, played by Anthony Santiago, is Jewish, although, in his one solo, \u201cReviewing the Situation,\u201d the klezmer-inspired clarinet accompaniment hints at a connection. Even as Fagin salivates over his cache of jewels, overall, he comes across as a lovable rogue, not the sleaze Dickens originally described. On opening night, I asked Epstein about this characterization. \u201cI did not want to make a Jewish caricature of him,\u201d said Epstein. \u201cI wanted the show to be something entertaining and deep without that aspect.\u201d<\/p>\n While this is truly an ensemble production, a number of actors stand out. Many of the veterans take on multiple roles, gliding effortlessly from one to the other.<\/p>\n Miranda MacDougall, who can really belt out a song, does double duty as Nancy, one of Fagin\u2019s accomplices, a kind-hearted strumpet, and Mrs. Sowerberry, the undertaker\u2019s wife. She also carries off a pretty good Cockney accent.<\/p>\n Tanner Zerr plays Nancy\u2019s churlish beau Bill Sykes, whose cruelty leads to murder and his ultimate demise. One wonders what Nancy sees in this violent partner and why she stays with him. The answer comes in her poignant rendition of \u201cAs Long As He Needs Me,\u201d which brought tears to my eyes. Zerr also doubles as Mr. Sowerberry in a very funny funeral scene and chorus line dance, including a spry corpse \u2013 Kate Malcic.<\/p>\n Santiago is simply fantastic as Fagin. Lucas Gregory as the Artful Dodger, the leader of Fagin\u2019s gang, has a very physical role, as he slides down poles and climbs up and down ladders. I hope he can make it through the three-week run without an injury.<\/p>\n Then, of course, there is Rickie Wang as Oliver. Wang gives a sublime performance and showed his singing talent with \u201cWhere is Love?\u201d<\/p>\n More minor characters, Victor Hunter, as Mr. Bumble, the beadle, and Cecilly Day, as Widow Corney, delight in a raunchy two-hander that had the audience in stitches. Daniel Curalli plays Mr. Brownlow, who turns out to be Oliver\u2019s uncle, with the appropriate gravitas, and Suani Rincon does a nice job as Bet,\u00a0<\/span><\/p>\n Nancy\u2019s friend. All the gang kids, from the tallest to the smallest, are great and perform with gusto.\u00a0<\/span><\/p>\n A musical of this scope is nothing without the behind-the-scenes work of the creative team. In this production, they really deliver.<\/p>\n Cormack\u2019s industrial two-storey wrought-iron set constantly revolves, morphing from a workhouse to Fagin\u2019s hideout to a posh London salon to London Bridge. Frenetic activity accompanies each revolution with various cast members running to and fro.<\/p>\n Lighting designer Sophie Tang\u2019s rich colours infuse the various sets, providing the mood for each scene.<\/p>\n The costumes of Donnie Tejani authentically reflect the Victorian era \u2013 the rustling petticoats of the ladies, the tattered frocks and knickers of the children\u2019s gang, Fagin\u2019s patchwork overcoat, and fancy waistcoats and trousers for the gentlemen.\u00a0<\/span><\/p>\n Against the backdrop of all of these designs, choreographer Nicol Spinola gets her young charges hoofing away to musical director Sean Bayntun\u2019s impressive six-piece orchestra. With iconic songs like \u201cFood, Glorious Food,\u201d \u201cConsider Yourself One of the Family\u201d and \u201cOom Pa Pa,\u201d what\u2019s not to like?<\/p>\n My only complaint is that the hidden orchestra often overpowers the actors (although they are all wearing microphones) so that many of the lyrics are lost. Hopefully, over the course of the run, this will be corrected.<\/p>\n In program notes Epstein remarks: \u201cDirecting Oliver! has been an incredible opportunity to reimagine a story that has resonated for generations. While it\u2019s a tale of resilience and hope, it also confronts the harsh realities of poverty, abandonment, and the search for belonging. For this production, we\u2019ve worked to see the story through Oliver\u2019s eyes, capturing the vivid and fantastical way children remember moments.<\/p>\n \u201cThis isn\u2019t a softened version of Oliver!<\/i>, it\u2019s raw, unflinching, and a true dark fairy tale. It\u2019s a story about finding light in the darkest places and holding onto hope when it feels out of reach.\u201d<\/p>\n