Oliver! at Gielgud Theatre

Energy, fun and astonishing light and stage work: Oliver! is packed with everything a colourful and engaging take on Charles Dickens’ story should be. The latest production of Lionel Bart’s musical has entered the second year of its West End run, with the original principal cast as strong as ever.

The story follows the misadventures of Oliver (Isaac Hackett on the gala night), an orphan who, from the workhouse where he and his companions are barely fed, is sold to an undertaker and his wife, from whom he runs away. After seven days, he arrives in London, where he meets Artful Dodger (Aaron Macgregor), who offers him hospitality and introduces him to the gang, a group of young boys without a home, led by Fagin (Simon Lipkin), to pickpocket on the street. On his first day of the “job”, Oliver is caught by Mr Brownlow (Philip Franks). Captures, swaps and rescues ensue around the fate of the child.

The production set is a marvel to behold. The tri-dimensional theatre space is expanded into the distance in an imaginative way that’s pure art. The lighting design – by Paule Constable and Ben Jacobs – is shaped by beams of light, smoke clouds casting thin shadows, and layers of projections that simulate sweeping changes of setting, while swings and cables move up and down. The rotating stage allows smooth transitions: the crowd walks in a fluid flow, whether conveying the hurry of the streets or providing a contrast in slow motion to the main characters; it’s an ecstatic effect to watch. The songs Oliver’s Escape and London Bridge dramatically play on the intersecting tiers and shifting parts.

The cast brings a heightened energy to the movements: director and choreographer Matthew Bourne leaves an evident mark in the commanding stage presence and vigorous dancing. The catchy number Consider Yourself is all-encompassing in its involvement of the young boys and the street vendors, and the turning vertical platform is that touch of clever theatrical craft that wonderfully completes it. The ensemble is geared with an exhilarating, exact mechanism.

In this precise clockwork, every element is fundamental. However, it is undeniable that the incredible talent of Lipkin in his hilarious and physically compelling Fagin stands out. Ava Brennan, in the role of Nancy, has an arresting voice that fills the space with mighty control – and in As Long As He Needs Me, she strikes an intimate and painful love chord with her potent vocals. Macgregor is exuberantly deft in his caricature role of Artful Dodger: with attitude and speed, his character bounces with kinetic energy and an irresistible smile. Hackett is lively, endearing and accomplished in the chaos of life on stage – as are the whole group of children, a seemingly unruly, effervescent party.

Choosing one character over the others is arduous and futile, as it’s the community, the ensemble of cast and creatives, that makes this production remarkable. What is certain is the joyous feeling of the audience leaving the theatre after such a spectacular revival of this classic.