Mosman Musical Society: Oliver! - Review by Simon Peppercorn

There is something especially satisfying about seeing a community theatre company take on a large, familiar musical and make it work within the honest limits of the space available. Mosman Musical Society’s production of Oliver!, staged at the Zenith Theatre in Chatswood, does exactly that. It is warm, disciplined, well-paced and performed with obvious care by a very large cast who understand both the charm and the darkness of Lionel Bart’s much-loved musical.

I should also disclose early that I know Oliver! well. I have played Mr Bumble in two separate productions, including one with Dean McGrath, who plays Bill Sykes in this production. That does not make me harder or easier to please, but it does mean I know some of the show’s traps. I know where the music can expose performers, where the comedy can fall flat, where the darker material needs care, and where the staging can become unwieldy. On that basis, there is a great deal here to admire.

The Zenith Theatre is an intimate, single-tier auditorium with steeply raked seating and a rounded stage. This means there are no bad seats, and the closeness between audience and performers works beautifully for a show like this. The stage itself is not large, so fitting 22 adults, 23 children, an 11-piece orchestra and conductor into the production while still leaving room for movement is no small achievement.

Director Jody Rose uses the space with intelligence and precision. The production never tries to pretend the stage is bigger than it is. Instead, it leans into the intimacy of the venue. At times, the action spills into the audience, which adds to the sense of being drawn into the streets, workhouses and shadowy corners of Victorian London. It is a simple choice, but an effective one.

The sets are minimal, but that simplicity works in the production’s favour. Furniture and props are used well, and the rear projection helps establish the various locations clearly. We move from the orphanage and workhouse to the undertaker’s shop, Fagin’s den and the streets of London without the stage ever feeling cluttered. Production designer Alex Cotton has created a practical visual world that supports the storytelling rather than competing with it.

Susan Boyle’s costume design also plays an important role in establishing character and atmosphere. The costumes help define social class, occupation and personality, which is particularly useful in a production with so many people on stage. The result is visually clear and easy to follow, even in the busier scenes.

The choreography by Rachael Hyland deserves special mention. Large numbers such as Consider Yourself and Who Will Buy? are difficult to stage in any venue, let alone one with limited space. Consider Yourself is, by its nature, one of those numbers that can begin to feel as though it may still be going by the time you reach the car park. Here, the ensemble keeps it fresh and spirited right through to the final refrain. Who Will Buy? is also handled with charm, creating a sense of movement, community and bustle without overwhelming the stage.

The children’s ensemble is absolutely delightful. More importantly, they are focused and disciplined. Young performers can bring wonderful energy, but it takes strong direction to shape that energy into something controlled and purposeful. These children are not just placed on stage to look cute. They know what they are doing in the scenes, not just where they are meant to stand. They are part of the world of the show, and they contribute meaningfully to its energy and charm.

At the performance I attended, Noah Macey played Oliver and Josh Prazan played the Artful Dodger. Both roles are dual cast, with Tommy Piccinelli also sharing the role of Oliver and Alexander Woodyat sharing the role of Dodger during the season. Macey brings sincerity, sweetness and vulnerability to Oliver. It is not always the flashiest role in the show, despite being the title character, but Macey gives him a clear emotional centre.

Prazan is a standout as the Artful Dodger. He has terrific presence and an easy confidence on stage. Dodger is a role that can tempt a young performer into doing too much, but Prazan understands the balance. He is cheeky, lively and engaging, yet still generous within the ensemble. He draws attention for all the right reasons.

Brendan Iddles gives us a very enjoyable Fagin. It is a complex role because it sits somewhere between comedy, manipulation, warmth and moral murkiness. Iddles handles that mixture well. His Fagin is theatrical and entertaining, but not without exposing the character’s insecurities and darker shadows. His scenes with the scallywags have good rhythm, and his Reviewing the Situation is one of the musical highlights of the production.

The orchestra, conducted at this performance by Jessica Tannous, is excellent. Musical directors Jim Coyle and Jessica Tannous have clearly prepared the score with care. The 11-piece orchestra sounds full, confident and well balanced. The music never felt thin, which can sometimes happen in smaller-scale productions of large musicals. Instead, the orchestra gave the show a strong musical foundation and helped sustain its energy throughout. I was particularly taken by the violin during Fagin’s Reviewing the Situation, which added wonderful colour and character to the number.

Dean McGrath is highly effective as Bill Sykes. Sykes can easily be overplayed, but McGrath understands that menace does not need to be loud all the time. His performance has a hard stillness that makes the character genuinely threatening. When he enters, the mood of the stage changes. That is exactly what Sykes needs to do.

Megan Cribb brings warmth, spirit and humanity to Nancy. It is one of the hardest roles in the show because it asks the performer to move between humour, affection, strength, fear and heartbreak. Cribb is especially engaging in Nancy’s lighter and more spirited moments, where her warmth with the company comes through clearly. She gives Nancy a strong place within the world of the production, and her performance helps anchor the emotional stakes of the second act.

Matthew Morris and Jill Munt are individually strong as Mr Bumble and Widow Corney. These roles need a particular comic rhythm, and both performers bring clear character choices and confidence to their scenes. Their dynamic could perhaps have had a little more spark, but the performances themselves are polished and enjoyable. As someone who knows Bumble from the inside, I appreciated the clarity Morris brought to the role.

Benjamin Sullivan brings dignity to Mr Brownlow and a pleasingly gloomy comic quality to Mr Sowerberry. Julia Dance, Nicole Chapman, Libby Abadee and Andrew Morris also make strong contributions as Mrs Sowerberry, Bet and Mrs Bedwin, Charlotte and Noah Claypole. Across the cast, there is a clear understanding of the script and the tone of the piece.

Oliver! is often remembered for its cheerful songs and comic characters, but it is also a story about poverty, exploitation, cruelty and brutal domestic violence. The final section of the show is always confronting, and this production handles it with care. It allows the tragedy to land without becoming unnecessarily graphic. The darker material is present, but it does not overwhelm the production’s warmth or humanity.

What impressed me most was the discipline of the whole company. This is not a production relying on spectacle. It relies on clarity, commitment, musical strength and ensemble work. The cast has good chemistry, the children are terrific, the orchestra is excellent, and the creative team makes smart use of the space.

Mosman Musical Society’s Oliver! is a very worthwhile production. It is full of familiar songs, lively performances and genuine theatrical charm, but it also respects the darker edges of the story. Whether you know the show well or are coming to it fresh, this is an engaging and thoughtfully staged production that makes excellent use of its venue and gives its audience plenty to enjoy.