Theatre review: Strong singing and dancing over darkness in Gateway Theatre's Oliver!
A smart revolving set and some smashing choreography keep this family musical moving
Oliver! at Gateway Theatre. Photo by David Cooper
Gateway Theatre presents Lionel Bart’s Oliver! to January 4
GATEWAY THEATRE’S PRODUCTION of the beloved musical Oliver! has arrived just in time for the holidays. Based on Charles Dickens’s timeless Oliver Twist, the musical telling evokes many of the same poignant messages as the same author’s A Christmas Carol, set against a similar backdrop of poverty and class struggle in Victorian England.
Under the direction of Josh Epstein and featuring many talented local kids—led by the superb Rickie Wang in the title role—the show with book, music, and lyrics by Lionel Bart hits memorable high notes and will captivate the imaginations of children and adults alike.
The story follows young Oliver, who is thrown out of the orphan workhouse after daring to ask for a second helping of gruel at mealtime. Sold to undertaker Mr. Sowerberry (Tanner Zerr) as an apprentice, Oliver eventually finds his way to the streets of London, where he’s adopted into a gang of orphan pickpockets led by Fagin (Anthony Santiago). But it’s Fagin’s associate, the sinister Bill Sikes (Zerr), who keeps the crew in line, and Oliver soon learns the dangers of stepping out.
Wang creates an endearing, innocent Oliver. His pure vocals soar in songs such as “Where is Love?”, pulling at the heart strings.
Meanwhile, the other star of this show is Ryan Cormack’s inventive set design, featuring a multilevel playground of ladders and crates atop a revolving stage that keeps the story in continuous motion.
Longtime choreographer Nicol Spinola has produced some of her best work, taking full advantage of Cormack’s design. In one of the most exciting moments, we see the dynamic children’s ensemble scatter, weaving in and out of the revolving set as the drama heightens. Throughout the show, Spinola’s choreography brims with creativity, starting off with “Food, Glorious Food”, where the children’s longing ignites an energy-packed dance number that’s a bit like an amped-up version of “It’s the Hard-Knock Life” from Annie.
Standout dancer Lucas Gregory shines here, as well as later on when he brings to life the orphan gang leader Artful Dodger with delightful cheekiness.
Director Epstein also deserves praise for reimagining the story to include girl orphans in a show that traditionally only depicts boys.
The first act is rich with darkness and fantastical elements, evoking shades of Matilda and Charlie and the Chocolate Factory. For example, in the opening scene, the workhouse authorities, played by the enjoyably evil pair of Victor Hunter and Cecilly Day, present the children with an enormous cauldron of extremely unappealing, steaming gruel. Later, at Mr. Sowerberry’s funeral home, a wickedly unhinged Mrs. Sowerberry (Miranda MacDougall) and her crew of strange beings draw us into a scene that feels straight out of a Tim Burton film. In the entertaining “That’s Your Funeral”, we even see MacDougall and company dance with a “corpse”.
Rickie Wang as Oliver. Photo by David Cooper
The second act doesn’t carry forth the darkness or imaginative quality of the first. MacDougall steals the show in her primary role of Nancy, Sikes’s girlfriend, with her blend of charisma, sensitivity, and powerhouse vocals, but her level of emotional struggle isn’t matched by the threat of Sikes’s abuse. Sikes is meant to be overly dominant and terrifying, and that doesn’t happen here. Similarly, there are several moments where it appears that Oliver could simply walk away from supposed life-threatening situations. Even Santiago’s Fagin, portrayed with humour and likeability, could use a touch more creepiness—whether through makeup, costuming, direction, or other devices—as the character typically represents much of the story’s darkness.
These choices may be intentional so as to not frighten young audiences. Still, without a higher level of intensity leading up to it, the story’s resolution feels a little underwhelming.
Where this show succeeds the most is in its fantastically staged production numbers, including “Oom-Pah-Pah” and the reprise of “Who Will Buy?”. Spinola’s terrific choreography, strong song and dance talent in the cast, and an equally strong six-piece live band under the leadership of musical director Sean Bayntun, make for some thrilling moments. Dressed up in Cormack’s set design, along with Donnie Tejani’s costumes and Sophie Tang’s lighting, the show’s visuals resemble a Dickensian storybook come to life. Add to that the earnest messages about love and courage, and Gateway Theatre’s Oliver! will leave families wanting more. 
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