I’m reviewing— the situation! Or as the case may be— the production! Of Oliver! at Tidewater Players this spring. And it is not your grandma’s Oliver! which is arguably one of the best things that can be said for a production of this show, as so many people write it off as either a children’s show or Annie with boys. This production is neither of those things and I’ll raise all the flagons of ale in the tavern in a grateful cheer to that! Directed and Choreographed by Bambi Johnson with shared Musical Direction by Chris Rose and Stanley Evans, this production— spiritedly referred to as ‘…not your grandma’s Oliver!…’ is a truly radiant diamond in the rough as it leans into the Dickensian darkness and all of that gritty glory that the source material has to offer. Remarkably engaging, full of perfectly balanced light and darkness, this production of Oliver! will change the way you view future performance of the show.
Ever a hallmark of a Bambi Johnson show, the atmospheric resplendence of her vision is going to embrace you— or at the very least, dangle over you— when you enter the theatre, even before the performance begins. With strings of colorful ‘nose-rags’ and ‘handkerchiefs’ strung all over the ceiling (and cleverly lit by William A. Price III, to create a shadowy illusion on the walls) you get the sense that you’re walking into Fagin’s playground right from jump street. Add a little atmospheric pre-show house music— see if you can guess the connection that Johnson has set forth in her song selections here— and you’re primed for this Dickensian delight. Make no mistake, this is not a children’s show. Oliver! is a dark literary expression of the times, which Bambi Johnson embraces fully and puts on exacting display. Shying away from the darkness, the grit, and the overall violence in a show like this would be unacceptable— like condoning it with a blind eye— and instead Johnson draws the attention to it, raising awareness, highlighting just how unacceptable these behaviors, these lifestyles, and the styles of the times were. It’s a brilliant way to embrace the source material and allow it to live up to its full stage potential.
Set Team, spearheaded by designer Benjamin Marsh (and including Stanton Zacker and Heidi Pensel), works in tandem with Lighting Designer William A. Price III to transport the audience to Dickensian London with deceptively simplistic scenery. You don’t need an overly complicated set to tell this story and Marsh, Zacker, Pensel, and Price III follow that notion accordingly. There’s an archway, which allows for projections (both in the opening scene of the workhouse and at the end during the bridge scene) to create scenic depth on the stage, making a fathomless illusion of space. The raised platform across the back of the archway creates just enough of a dynamic play of levels that allows for some intrinsic perspective to be infused into the blocking. The gentlemen, those in charge of the workhouse, those above the orphans and urchins, all get to stand physically elevated above them— but only just so. And the scenery shifts are practically perfect. Stage Manager Lithia Knopp (and her backstage crew Malia Williamson) engage the cast in rapid-paced changes. You go from Fagin’s lair— decked out with even more handkerchief strings— to the streets of London in the blink of an eye, with ensemble performers moving as stage crew. It keeps the show sharp and tight. It should also be noted that Price III’s lighting creates some truly extraordinary effects all throughout the performance— particularly when introducing new characters like the brutish Bill Sikes. One of Price III’s most impressive lighting constructs is the darkness that consumes both stage and house when Mr. Bumble trots Oliver through the house to be sold, with only the flickering orange glow of his lantern lighting them; it’s a striking and harrowing effect (and doubles down in support of Bambi Johnson’s blocking, which consistently immerses the audience in the show because the characters are milling about through the house right in front of you at very specific moments.) The design team is working as a well-oiled machine, fulfilling the overall vision of the director and that’s often a rarity, especially in community theatre. It’s working brilliantly for this production.
Clothes! Glorious Clothes! Rich costumes and poor ones! Clothes! Glorious Clothes! Distressed rags and some nice ones! Costume Designers Brenda Kinzinger and Joyce Williams go all out to craft the look of Oliver! in drab, dreary rags, with accents of color that really make certain characters pop. Fagin’s Wig (Helen Schlaich) and Fagin’s Coat (Della Lottman), which work so marvelously because of the way this particular portrayal of Fagin is being approached, are splashy and flashy while those in his gang look tumbledown and bedraggled, except of course for the Artful Dodger, whose costume looks like beautifully hilarious send-up of a proper English gentleman. It’s all of the subtly— devil in the details as it were— when it comes to Kinzinger & Williams’ sartorial selections for this show. The gorgeous garnet dress featured on Nancy isn’t too pretty but hints enough at the fact that she still has feminine airs about her, despite her situation and her station, and it’s balanced with those rough boots, dark makeup, and tawdry fishnet stockings which can just be seen every so often as the character moves about. There are bonnets a plenty for all the working class ladies, and the overall vibe of the orphans, urchins, and street folk is simply grody; it’s a visual mélange of muted colors and those that pop— much like the darkness of the libretto, which has moments of brightness and joy that just pop throughout.
The music in Oliver! is iconic; a ‘known classic’ as some often refer to it. You won’t hear it bolder, brighter, bigger and better than you will with the ensemble of Tidewater Players’ production under the combined musical direction of Chris Rose and Stanley Evans. The soloists are of course talented; the duets and quartets (or in this case quartet turned sextet) are blended sublimely, but where the musical fortitude in this production truly shines is the big, full-ensemble company numbers like “Oom Pah Pah!” and “Consider Yourself.” There’s a rousing spirit that races through the ensemble, boisterously infecting each number with a vigorous enthusiasm. This is the perfect balance for those darker moments which really do pop out of the stage and grip you like ice with unsettling fear. Dickson Teel’s sound balance (as the show’s sound designer) helps keep these roaring sounds on the level with the track music, making for an exquisite aural experience all across the board.
If you’ve ever had the pleasure of experiencing a Bambi Johnson show, then you’ll know in addition to atmospheric, immersive ambiance, the show will be chock-a-block with dancing. Oliver! is no exception. With dance captain Leslie Perry at the helm, there is a great deal of energetic dance routines that heighten the more celebratory moments of the show. “Consider Yourself” is one of those numbers, which features the perfect plethora of dancing, ribbon twirling, skirt swirling, and a whole bunch of ‘crowded street’ choreography that is the epitome of the ‘high street circus’ in London town. Featured female dancers— Leslie Perry, Lisa Rigsby Geiger, and Anna Odell— are utilized frequently throughout all of the choreographed routines, with Leslie Perry (who also takes up the mantle in the role of Bet) getting to showcase her skills as a dancer multiple times over. There’s a lot of side-kick, shuffle-step routines, to maximize the sharp, crisp, cleanliness of the dances as they are executed, and you get to see some charming movement from ensemble players like Stanton Zacker, who does a penguin-style-solo routine during one of the street scene numbers. Johnson makes exquisite use of the children on stage— particularly during the opening number in the workhouse, giving them rhythmic choreography to execute, and again during all of the scenes in Fagin’s hideaway, which has their effervescence as performers on full display as they caper and jig about. It’s a visual feast of dance and movement, from start to finish with this show, and it goes so much further than just the dance-choreography that Johnson infuses into the performance.
Blocking on a smaller stage is a critical component to a production’s success and Bambi Johnson is no stranger to the Tidewater Players’ play space. Not only does she effectively and efficiently utilize the stage but she brings the action of the show out into the house, which creates this immersive theatrical experience. Nothing like having Oliver zip by you up the aisle as he’s trying to flee chaos and calamity on stage. None of the critical chaos moments— where characters are bumping and bumbling about in the melee of the chase— feel haphazard and yet they look completely accidental; an astonishing feat to accomplish. And there are so many breathtaking moments— like when Bill Sikes and Oliver end up out in the house late in Act II, or even just the startling arrival of Bill Sikes at the top of Act II— that really catch you off-guard in the most thrilling way. Johnson meticulously balances the grit and darkness of Oliver! against the joviality and fun that is found in some of the more up-tempo, albeit lyrically dissonant, musical numbers. Character relationships and acknowledgements are strong and grounded, you get the sense that each of these performers— even those pedaling their wares during “Who Will Buy”— exist completely beyond the scenes that you’re seeing. It’s a marvelous testament to Johnson’s ability to encourage, inspire, and inform character work in the overall storytelling narrative experience that is musical theatre. Her fight choreography, particularly for multiple slap-about scenes is jarring— superbly executed to the point where you feel it in your gut at how brutal it looks.
Those workhouse orphans (Jadelyn Ash, Lizzie Fink, Preston Haire, Riley Harrison, Kaielle Lyons, Alex Moskos, Kyle Perry, Caylin Steadele) are the introduction to the show. Marching through the house to kickstart Oliver! you know from the moment they start in on “Food, Glorious Food!” it’s going to be an extraordinary production. And watching those eight youngsters (with Colton Roberts as the titular character mixed in among them) create choreographed chaos once young Oliver asks for more is just delightful. The ensemble as a whole (including Jadelyn Ash, Siena Bauer, Lizzy Fink, Ethan Folmer, Preston Haire, Riley Harrison, Kaielle Lyons, Benjamin Marsh, Alex Moskos, Kyle Perry, Anna Odell, Mindy Olsen, Lisa Rigby Geiger, Jeremiah Robinson, Caylin Steadele) carries that same indefatigable energy all throughout the performance. It’s Fagin’s Gang (Siena Bauer, Lizzy Fink, Ethan Folmer, Riley Harrison, Alex Moskos, Lincoln Olsen, Jeremiah Robinson, Hazel Vogel) where that enthusiastic energy really gets kicked into overdrive, keeping the scenes moving swiftly.
Two of the featured urchins in Fagin’s Gang— Charlie Bates (Lincoln Olsen) and Nipper (Hazel Vogel)— will have you stunned with all of their antics. Olsen, as the cheeky Charlie Bates has a great understanding of how to subtly get noticed in the background without pulling focus in a bate way, and he’s perpetually grinning even when there’s chaos and confusion abound. Vogel, as a charming punch of comedic relief particularly when she’s playing around with Fagin, gets an adorable reprise of “Consider Yourself” where her broom-sweeping jig will simply steal your heart as her powerful vocal panache steals that number. All of Fagin’s Gang is a delight to watch, particularly as they play around, muck about, and make merriment during numbers like “Pick a Pocket Or Two” and “Be Back Soon.” Their marching-movements and lean-back-line during that number are simply smashing.
Everyone from the delightful Mrs. Bedwin (Karisa Sikoris) ‘who dotes kindly on Oliver when he finds himself ‘rescued’ into the care of the Bostonian-inspired Mr. Brownlow (Mark Briner) to the head-eating Dr. Grimwig (Raymond Von Wahlde) finds a moment to shine in this production. You’ll actually see more of Sikoris in “Consider Yourself” as she leads the ‘school children’ around the square and into their delightful ribbon-twirling dance and it puts a smile on your face. Briner can also be seen in the opening number as a workhouse sophisticate who barks in full patter at Oliver near the end of that eponymous number.
If you want vocal delights, in addition to all the dreary darkness and grody grit that accompanies Oliver! there’s plenty of that to be had in the quartet (turned sextet) of the “Who Will Buy?” sellers. Lisa Rigsby Geiger on roses, Anna Odell, Mindy Olsen, Amy M. Tucker on milk, Anne Acerno on strawberries, and Matt Perry on knives, you get this operatic resplendence that simply radiates out through the house in a most astonishing fashion. Hearing Tucker and Acerno here on the high soprano is delightful, particularly as the pair of them double up as other named characters in the production. Tucker, who also plays Mrs. Sowerberry (opposite Stanton Zacker as Mr. Sowerberry, and his nasally almost flamboyant affectation in character role is hilarious, if shaded in darker senses of humor) puts on a high airs accent for the role and delves into the duet, “That’s Your Funeral” with Zacker. That whole number is darkly humorous with Tucker and Zacker crossing their arms like corpses and spinning poor Oliver all around the stage. (It’s also worth mentioning that 98% of the cast masterfully delivers working class English accents appropriate for the times, no small feat, particularly in community theatre!)
Bordering on that ‘Queen of the Night’ aria soprano sound, you’re treated to delightful soaring notes at the end of “I Shall Scream!” by Widow Corney (played to perfection by Anne Acerno.) Matt Perry, both Knife Grinder and Mr. Bumble, joins Acerno in this number and makes for a perfect vocal compliment to all of musical glee. Acerno is a comedic joy in the role, playing both coy and cheeky all at once, though by the time she reprises the character in the second act, Corney’s attitude has soured significantly, making Acerno’s antics on stage that much more enjoyably hilarious. She takes a cameo character and turns it into one of the more memorable occurrences on stage. Benjamin Marsh, who plays Noah Claypole has similar moments with Anna Odell, playing Charlotte, in the Sowerberry Funeral Parlor and you won’t easily forget their “bit with the bacon.” Though you’ll see Marsh popping up as a constable, constantly chasing poor Oliver around and it’s rather amusing to watch the lad slip right through his arms!
It’s difficult to describe the sheer glee and utter effervescence that Maxton Folmer brings to the role of The Artful Dodger. Cheeky, charming, considering himself a ‘man’ of airs and graces, you won’t be able to take your eyes off of him, particularly when he’s sat at the front of the stage with Oliver upon first meeting the poor runaway orphan. There’s a frenetic intensity about Folmer’s performance that is just invigorating beyond proper description. And when he’s joyously bounding his way through “I’d Do Anything” (which in itself is such a wondrously wild number with umbrella-carriage-wheel spins and all sorts of clever antics), you won’t be able to stop grinning from ear to ear. Folmer has a strong, clear voice that’s perfect for this number as well as “Consider Yourself” and the camaraderie that he shares with the others of Fagin’s Gang, and of course with Oliver, feels intrinsically authentic.
While Bet (Leslie Perry) may only accompany Nancy (Emily Jewett) here and there, you certainly get to see lots of Leslie Perry dancing her legs off all throughout the performance. You really get to see and hear her during “I’d Do Anything”, which is a lovely way to put a spotlight on her talents in this performance. As Nancy, Emily Jewett is the epitome of what this character was designed to be. Rough around the edges, unafraid to own that coarseness, and fully ready to belt her face off at any moment. Jewett embraces the lower range and register of numbers like “Oom Pah Pah” and “It’s A Fine Life” and bursts out in this songs with vigorous gusto that will bowl you over. There are raw emotions erupting from Jewett at all times, some more intense than others, particularly when she growl-belts her way through “As Long As He Needs Me”, which is such a harrowing and striking moment, you really feel it in your gut and in your heart. There is an undeniably, unyielding scrappiness that is ever-present in Jewett’s approach to Nancy. She vivaciously expresses the twinkling bright spots in her life, whilst never truly forgetting the darkness that is Bill Sikes, as it lurks and looms at the edge of her consciousness in every step of her performance. Finding words that accurately depict how much justice Emily Jewett is bringing to the role of Nancy feels like an insurmountable task; I will simply say that in my near-15 years of reviewing, I’ve never seen a more perfect fit for the role than the one with this performer.
The truly unsettling relationship in this production is that of Nancy and Bill Sikes (Ryan Geiger.) Jewett’s volatile chemistry with Geiger’s Bill Sikes is unquestionably intense and doesn’t lean into the darkness so much as it dives headlong off a cliff into a bottomless blackness. You’ll get chills when you hear her clap back at him; and you’ll shudder in your seat when the pair of them play out their violent affairs. (For insight and an insider’s experience on what that’s like, read their interview here.) All too often, productions of Oliver! try to turn Bill Sikes into something comic, something lighter, or just a nasty little bit of villain. Bambi Johnson’s direction of Ryan Geiger and his masterful approach to owning the darkness of the character will leave you deeply disturbed. Known for his more comedic works, Geiger tackles this chilling character with a truly spine-tingling sense of malice that levels you deeply unsettled right from the moment he arrives (even with Fagin performing comedy all around him as Geiger stands in total silence.) Geiger’s voice is like translucent smoke when he whisper-sings his way through “My Name”, it’s riveting in a horrific fashion— and when he hits the tail-end of the number, bombastically exploding in both volume and intensity, it’s enough to make you jump in your seat. The dynamic that Geiger and Jewett share, as Bill and Nancy, becomes the stuff of nightmare fuel and truly portrays the raw intentions behind Oliver!
Where does one even start with the wonders that are Gary Dieter in this role of Fagin? Perfectly balanced in his comical airs, bringing that beautiful belting voice to the forefront of every number that he sings, the audience receives a stellar performance from Dieter in this ‘master of thieves’ role. Dieter delivers all the ‘boon companionship’ of a Thénardier with all the charm of a rogue scoundrel, and all while mincing, skipping, prancing, and twirling about the stage (with true dancer’s style so that it looks extraordinary in addition to being humorous.) Dieter has a full-on field day with “Pick a Pocket Or Two” and really engages the ‘lads’ of his gang in all sorts of fun during this number. His accent, like so many in this production, is truly spot-on and you just can’t keep your eyes off of him when he’s flitting about the stage. It’s this chaotic neutral nature that Dieter brings to the character that creates a balance between his pickpocketing nature and his keen sense of self-preservation. Dieter all but steals the show with “Reviewing The Situation” because it’s such a mercurial moment; one minute you’ve got a true conundrum surfacing both in his voice and expressed on his face, the next he’s back at the high-octane antics of comedy, flipping, flapping, and carrying on. It’s a real treat! Dieter is physically invested in the role as well, slinking about on stage, twirling around (making a grand show of that stellar coat to boot!) and ultimately creating this lively, quirky madman that is just a delight to see flitting about in the darkness that is Oliver!
Oliver! Oliver! Never before have you seen the likes of this extraordinarily talented young performer, Colton Roberts, who just amazes from the moment he pops up asking for more, right through to the final moment he’s seen on stage. Roberts is a proper triple threat performer, giving us exuberant enthusiasm with his marching and dancing— particularly when following in the footsteps of The Artful Dodger during “I’d Do Anything”— powerhouse vocals with a pristinely tuned voice, and a strong sense of a well-developed character. Roberts is a reactionary actor, whose facial expressions and body language really give you a full window into his character’s internal monologues. While the title character does have quite a few lines, a lot of his on-stage time is observing and responding non-verbally, which Roberts does with stellar success. And when he sings, particularly for “Where Is Love?” he’ll melt your heart with that crystalline clear, beautifully grounded sound. You see Roberts physically lifted off of his feet (quite often, at that!) by various adult characters and the look on his face when that happens is wonderful to watch— most of the time its shock and resistance, complete with kick-spinning feet as he tries to escape! There’s a harmonious balance of gusto and timid-nature happening with Roberts’ Oliver, he’s punchy in just the right moments— like when going after Noah Claypole for speaking ill of his dead mother— but also meek and frightened— like right before he starts his solo, “Where Is Love?” It’s a truly versatile and captivating performance from such a young performer; Colton Roberts as Oliver is a real treat to behold.
There aren’t enough impressive words to describe the experience— truly not your grandmother’s Oliver! because it’s both enjoyable and deeply disturbing on a visceral level— it can only be said that you should get tickets to this experience as it’s a remarkable, astonishing feat of theatrical excellence. Tidewater Players’ Oliver! is certainly one for the books; it is not a children’s show but should be seen by anyone who wants an impressive, engaging, compelling— and disquieting theatrical experience.
Running Time: 2 hours and 15 minutes with one intermission
Oliver! plays through May 19th 2024 with Tidewater Players in residence at the Cultural Center at The Havre de Grace Opera House— 121 N. Union Street in historic downtown Havre de Grace, MD. For tickets call the box office at 667-225-8433 or purchase them online.
To read the interview with Ryan Geiger & Emily Jewett on playing Bill Sikes and Nancy, click here.
To read the interview with Colton Roberts & Hazel Vogel on playing Oliver, click here.
