On paper the plot is anything but cheerful: young orphaned Oliver is thrown out of a workhouse for the sin of asking for a second helping, trafficked by a greedy couple to an exploitative family business, escapes and falls under the care of Fagin who accumulates wealth for himself from his gin-fuelled army of enslaved pick-pocketing children, before a young woman abused by the man she loves is killed trying to return Oliver to his blood relatives. This Dickensian tale has a lot of contemporary resonance.

On stage, Lionel Bart’s Oliver! is a musical much loved by school and youth productions that begins with Food Glorious Food, and follows it up with whistleable favourites like Where Is Love?, Consider Yourself, You’ve Got to Pick a Pocket or Two, and I’d Do Anything.

The sheer number of leading roles makes the musical Oliver! a good choice of production to show off the musical theatre talents of the students participating in the Grand Opera House Trust’s summer youth project. Over 350 applied to audition and 160 appear on stage, under the stage (in the orchestra) and in the wings as part of the technical crew.

Jackson Allen creates an almost pirate-like Fagin (I think it’s the wig!) but balances the playfulness with the reality of his character’s greed and subjugation. Caroline McMichael’s rendition and then reprise of As Long as He Needs Me as Nancy are highlights of the show (and builds on her strong performances in previous Grand Opera House productions of Bugsy Malone and The Pirates of Penzance). Robbie McMinn’s Bill Sykes thrusts cast members across the stage and never shows any sign of compassion, the kind of character who could clear The Queen Vic pub in Eastenders in 30 seconds flat.

Eva Kerr-Woodrow impresses in her first act role as Mrs Sowerberry, giving the undertaker’s wife a dramatic swagger during That’s Your Funeral. On opening/press night, Oliver’s sweet character was played by Mason McLoughlin (alternating with Ryan Johnson) while Conor Kelly (alternating with Hayden Shuttleworth) was at Fagin’s beck and call as The Artful Dodger.

The London Bridge scene that brings the story to the point of absolute crisis feels quite rushed, devoid of time to feel shocked and saddened at Nancy’s violent death before Fagin final speech and his escape to live another day.

The ensemble contains suitably grubby-faced workhouse children, masterful spoon playing, endless teams of dancers and crowds in varying sizes, and some good choral singing. Director Tony Finnegan and choreographer Rebecca Leonard succeed in never allowing the mass entrance or exit of the ensemble to become an undignified rush and give the crowd scenes a plethora of interactions to lift the energy. The size of the cast could have been a real burden, but instead add colour and movement to every scene they’re in. Aside from some of the outstanding solos, the musical highlight comes in the second act with a beautifully sung version of Who Will Buy? with four pairs of actors positioned around the set: musical director Wilson Shields, take a bow!

The first of a number of summer youth productions that I’ll be reviewing over the next month, Oliver! is a testament to the talent of young performers to work together and be shaped by an expert creative team over just ten days to produce a show that flows smoothly from start to finish.

Oliver! continues its short sold out run at the Grand Opera House until Saturday 22 July. Book early when tickets are released for next summer’s production.

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