Marie Clark Musical Theatre. The Arts Theatre. 26 Jun 2026
From the evergreen stage show Oliver! written originally by Lionel Bart (based on the Victorian Britain novel by Charles Dickens about a poorhouse orphan) comes a classic performance. It’s not often that audiences are asked not to sing, but such was the request for this production (“you can sing in the car on the way home!”).
And so, to the opening number, Food Glorious Food, and the singing expectations are immediately exceeded. Oliver (played by Patrick Green) established his credentials from the opening scene with that most famous of theatrical lines ‘please sir, can I have some more?’ In this season of Oliver!, it should be noted there are two youth casts who rotate through the performance schedule which comprises matinee and evening shows over the weekend. Our performance starred the Dickens Youth Cast, and very fine they were too. I can only imagine the other, the Bart Youth Cast show equal aplomb. Alix Carter as the Artful Dodger was sassy and extremely capable, turning in a dynamic performance.
Oliver teams up with a gang of young pickpockets who all steal for the slyly brilliant Fagin (great casting and performance from Adam Goodburn) who is probably consistently best-on-stage. By the time that one of the show’s highlight pieces comes about–Consider Yourself–the cast, directed by Lucy Trewin and Eloise Morriss, are in fine voice, and with the entire cast on stage the foundations of the Arts Theatre (itself dating back to the 1960s) were given a rocking.
Mention must be made of the young cast of pickpockets (Evie Dew, Jacqueline Siow, Jonathon Siow, Leo Dew, Nola Owen-Blazewicz, Owen Wu, Penelope Natt and Sassika Bentley), Musical Director Jaxon Joy, and the outstanding Sarah Hamilton as Nancy. Her Nancy was bold and brassy, sensitive and kind to the kids, and Hamilton worked these variations in character with great skill. As a singer she was the star of the show, powerful and clearly in control of her environment.
So, were there problems? Really, only one. Some of the acting was not to the standard set by the rest of the production. For music theatre one supposes this can be explained away, but when it is very much below all else it is quite noticeable.
Some imaginative lighting from Michael Benjamin lifted the production beyond the standard, exemplified by the use of a projection screen for Bill Sykes’ death. And how wonderful to have the accompaniment of Jaxon Joy’s 15-piece orchestra!
This is a considered and well realised production, and the quality of the voices is just outstanding. The beautiful haunting harmonies of Who Will Buy should remain with audiences for some time. Acknowledging the subject matter, this is a cracking production: well-rounded performances, deft choreography (also from Morriss, who paid particular attention to cast stage business while principals were front and centre) and superb musicianship.
This version of Oliver! really was excellent, a performance which brings to mind a couple of much debated points in the theatre scene around Adelaide. Firstly, what is the distinction between amateur and professional theatre, for if it is reckoned to be quality this was a performance to blush many professional outfits. If it is about the status of the cast (they being amateurs) then there is an argument about where the arts funding in this state is going.
Arna Eyers-White
When: 19 to 27 Jun
Where: Arts Theatre
Bookings: Closed
