“Oliver Twist” has, over the intervening years since Charles Dickens first published it in 1837, been through many twists, turns, adaptations and revamps not least of which was Lionel Bart’s 1963 version picking the pockets of millions of cinema and theatre goers from that day to this. There have been TV series, animations and doubtless slews of associated merchandise for which poor Charlie never saw a penny. Yet another manifestation emerged from the soupy fog of Victorian London at the Grand Theatre in Wolverhampton last night as Roy Williams’ adaptation of Michael Rosen’s adaptation of Charles Dickens’ “Oliver Twist” was presented to us in the form of “Unexpected Twist.”
This version attempts to draw parallels between an urban modern school locale and the novel. We have our school children who rather neatly are studying a play version of the novel while simultaneously experiencing modern equivalents of episodes therein. Drew Hylton doubles as both Shona and Oliver and has a wonderful singing voice. In fact, all the cast have exceptional voices and they need them for this is a musical without an orchestra.
Now I like beatboxing as much as the next middle aged white man and initially it was engaging and delightful but there was one “buff” and a couple of “wackwackas” too many after two hours. The piece would have benefited hugely from some straight simple acapella to enhance the songs of Conrad Murray and Yaya Bey, which, limited only to voice, needed far more variety.
The story unfurled itself in an interesting and quirky way, but employed a stylised technique which seem to restrict us from caring about the characters and there was more telling that showing resulting in a number of scenes with stationary characters talking about past and off-stage events. However, the staging was imaginative and intriguing. James Dacre’s direction was inventive and Arielle Smith’s choreography apposite and creative.
Of course, I’m not the target demographic. I’m guessing due it’s early start time and Rosen’s fame as a children’s author it’s aimed as a younger age group, perhaps nudging Young Adult readership. Certainly, from the evidence of last night it seemed so. And I was surrounded by young people exclaiming how awesome it was and left with smiles on the faces.
So, my suggestion is wipe previous incarnations from your mind, step into the urban-set, rap-riddled, beat-boxing-brimming world of a re-mixed Dickens and consider yourself at home.
Playing until 20th May, https://www.grandtheatre.co.uk/
Reviewer: Peter Kinnock
Reviewed: 16th May 2023
North West End UK Rating: