Tag Archives: Lionel Bart

“Oliver!” at the Gielgud Theatre

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.

Katy-Secombe-and-Oscar-Conlon-Morrey-credit-Johan-Persson
Katy Secombe and Oscar Conlon-Morrey

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

www.oliverthemusical.com

Photos by Johan Persson

“Quasimodo” at the King’s Head Theatre

London’s excellent fringe theatres often afford the chance to see hidden gems and curios: seldom-performed pieces, which can catch on with many or fascinate the aficionado. Quasimodo, by Lionel Bart, receiving its premier 50 years after it was first written, falls into the later category.

The musical, which has only been workshopped until now, has parallels with another beauty-and-beast show, The Phantom of the Opera, and various adaptations of French epics, including another of the iconic Victor Hugo story, Notre Dame de Paris, that have proved successful. But Bart’s was a project that never took off, so all credit to the talented director Robert Chevara for finally bringing it to the stage. It’s a shame that Quasimodo will really only interest those mad for musicals.

There’s certainly nothing wrong with the source or the book, which has been shaped by Chris Bond and Chevara into a slick work full of neat parallels, satisfyingly far removed from anything reminiscent of Disney’s 1996 film. Just as much the story of the beautiful Esmeralda, who inspires the passion of nearly everyone on stage, it’s ambitious and engaging. Bringing to the fore the theme of sexual anxiety, with Quasimodo as an understandably confused young man, is brave and bold. Chevara’s central performers explore the themes well; Zoë George is a vulnerable orphan willing to hone her feminine wiles and the excellent Steven Webb plays the crippled campanologist with charm.

Chevara’s production is at its best in its darkest scenes, there are moments when you suspect he’s onto something, but the humour in the piece rings like a cracked bell and proves distracting. Performances from the supporting cast could be pared back. The set by Christopher Hone is a good idea but sellotaped cobwebs give an amateurish feel, and the costumes, with their mismatched styles, misfire.

While the band do their best, you can hear the score crying out for more – this music needs a big sound in order to be judged properly, especially the choruses. But this is not the late, often great, Lionel Bart’s finest writing, the lyrics are unimaginative and the tunes simply not memorable enough. Ultimately that, rather than any battle of Quasimodo’s, is the tragedy of the piece.

Until 13 April 2013

www.kingsheadtheatre.com

Photo by Francis Loney

Written 25 March 2013 for The London Magazine