Review: OLIVER! at ARTS Theatre

Reviewed by Barry Lenny, Friday 19th June 2026.

Oliver!, the sanitised musical adapted from the Charles Dickens favourite, Oliver Twist; or, The Parish Boy’s Progress, is the latest production from Marie Clark Musical Theatre. The Tony and Olivier Award-winning musical has a book, music, and lyrics that are all by Lionel Bart. The film version won an Academy Award for Best Picture. The production is co-directed by Lucy Trewin and Eloise Morris, with choreography also by Morris, and musical direction by Jaxon Joy.

In Victorian England, the class system was strong, with a vast gap between the wealthy and the poor. Debtors’ prisons and workhouses were filled with the poorest of all, and this is where we first meet the orphan, Oliver Twist, and the other inmates, forced to work hard for long hours, and fed just enough to stay alive. The performance opens with Food, Glorious Food and, in spite of the unpleasantness of gruel, we see Oliver’s approach to Mr. Bumble, the Beadle, saying “Please, sir, I want some more”. The Beadle then leads the cast in the title song.

The Beadle sings Boy for Sale, and Oliver is sold to Mr. Sowerberry’s funeral parlour, where he is bullied by Noah Claypole. He fights back and soon runs away to London, where he is befriended by Jack Dawkins, better known as the Artful Dodger, who tells him to Consider Yourself One of Us, and is then taken in by Fagin, where he is told that You’ve Got to Pick a Pocket or Two. The Dodger takes him out to begin his career as a thief, and he accused of being a pickpocket, but is found innocent and is taken in by the kindly Mr. Brownlow.

Oliver is kidnapped by Sikes and Nancy, and returned to Fagin’s charge, but soft-hearted Nancy takes him back to Mr. Brownlow, facing the murderous anger of Sikes, who is then pursued and suffers his own fate. All ends happily, as Oliver and Mr. Brownlow are reunited, and Fagin and the Artful Dodger make their exit.

In spite of the title, the most memorable character in the musical, who has a couple of unforgettable songs, is Fagin, the Jewish fence. Adam Goodburn brings his vast experience in a wide range of genres, from opera to children’s television, and his professional approach to performance to bear on the role. He sets a very high standard for the rest of the cast to follow, and they do well to achieve that level. His sensational performance will remembered for a very long time.

Sid Ion, as Oliver Twist, displays that disarming combination of innocence and naivety associated with the role, delivering gentle renditions of his numerous songs, while Jack Pipprell has all of the brashness and cheeky deviousness needed for the role of the Artful Dodger, Oliver’s mentor.

Sarah Hamilton gives a strong performance as Nancy, her highlight being the impassioned rendition of As Long as He Needs Me. She earned every bit of the loud applause. Brad Tucker combines menace and darkness as the villain of the piece, Nancy’s lover, Bill Sikes, growling his way through his dialogue and song, My Name. Aliyah Goodburn is bright and bubbly as Nancy’s young friend, Bet.

Kim Clark, as Mr. Bumble, and Jen Edwards, as Widow Corney, are a great comedy duo, and Tom Moore, as Mr Brownlow, and Susie O'Connell, as Mrs Bedwin, present their characters as caring and concerned.

Nic Equid, as Mr Sowerberry, Ruby Pinkerton, as Mrs Sowerberry, Felix Setchell, as the bully, Noah Claypole, and Olivia Tod, as the fawning Charlotte, give us a nicely unpleasant quartet in the funeral parlour.

There is an adult ensemble, and two alternating youth casts, labelled as Bart, and Dickens. On opening night, the Bart Youth Cast performed. Both adult and youth ensembles, individually and combined, are enthusiastic and energetic, and they sing up a storm in the big production numbers.

The costumes look great, and the set, based around a solid basic structure, with other parts added and removed as needed to create the various locations, is effective.

In short, Marie Clark Musical Theatre has a hit on its hands, but booking quickly is highly recommended as this is a popular musical, done very well, and it has only a short run.

In a time when even professional companies have resorted to using recorded music, or faking the orchestral sound by using several keyboards, in order to save money, it was an absolute pleasure to hear a well-rehearsed 15-piece orchestra, under the baton of musical director, Jaxon Joy.

There were couple of missteps in lighting cues, and some awkward silences during slow scene changes but, hopefully, this has been noted and will be addressed before the next performance.

Photography, Daniel Salmond.

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