The heros of another hit new musical, Why Am I So Single?, are young friends who share a love of Lionel Bart’s 1960 show. It might strike you as odd that such Gen Z figures admire the old musical. It shouldn’t. As Cameron Mackintosh’s latest revival, via Chichester, illustrates, the piece is solid as ever and a foolproof crowd-pleaser.
Bart’s is a smart adaptation of the Charles Dicken’s classic (of course, it helps that we all know the story), cleverly stripping out the moments suitable for songs. And what songs! There’s not a tune most of the audience doesn’t recognise, and is each catchy, with a smart, distinctive spin on Victorian music-hall traditions indicative of in-depth knowledge.
Although the cast is superb (there are four Olivers and I’m confident each is excellent) and the ‘ahh’ factor from watching young performers is present, the roles for children are carefully controlled. The focus is on the grownups who, as well as working expertly with their charges, get the chance to shine.
There are super comic turns from Oscar Conlon-Morrey and Katy Secombe as Mr Bumble and the widow Corney, as well as the Sowerberry funeral directors, played by Stephen Matthews and Jamie Birkett. Aaron Sidwell’s Bill Sikes is suitably villainous, but there weren’t too many boos for him at the end – a little tortured angst in the performance makes him interestingly sympathetic. Shanay Holmes’ Nancy belts out her numbers to rapturous applause. And the star of the show is, of course, Fagin, performed here by the estimable Simon Lipkin with a surprising physicality. It’s great to get some energy into the role, although you might miss the threat Fagin should feel around Sikes (Lipkin looks as he might start a fight). Lipkin does especially well next to his young co-stars – there’s an appropriate sense he is the leader of this pack that is a pleasure to watch.
The production has a further strength. The direction and choreography are from Matthew Bourne. While Oliver! doesn’t lend itself to big dance numbers, Bourne’s eye for movement adds immeasurably. Marshalling the large cast around Lez Brotherston’s dynamic set is made exciting, and a touching sense of vulnerability is created with gestures matching the sentimentality of the piece to perfection. Both Bourne and Bart are bold in their treatment of Dickens – and the result is an old favourite you’ll be happy to have more of.
Booking until 29 March 2026
Photos by Johan Persson
