Oliver Twist - Derby Theatre Review
- Thomas Morley
- 22 hours ago
- 4 min read
★★★★☆
As December rolls in and theatres across the country dust off their glitter cannons for another season of pantomime chaos and big-budget Christmas musicals, Derby Theatre once again offers something refreshingly different. Their annual festive play has become a quiet staple for families seeking storytelling with a little more substance—seasonal, warm-hearted, and still buzzing with that magical Christmas spirit, but without the usual barrage of custard pies and “He’s behind you!”s. This year, they turn to one of the most beloved tales in the literary canon: Oliver Twist. But with a story as big, bold, and well-known as Dickens’ classic, how did this new adaptation fare?
Derby Theatre’s Christmas play takes us back to Dickensian times for Deborah McAndrew’s adaptation of “Oliver Twist”. Featuring a mix of nursery rhymes, Christmas carols, and original musical numbers, this heartwarming tale is brought to life by director Sarah Brigham and a talented cast of actor-musicians who take on multiple roles throughout the story.
At the centre of it all is William Poyser-Alton’s Oliver, a fantastic young actor who bounds around the stage, adding just the right combination of cheeky and adorable to our favourite Victorian orphan. He is ably supported by a joyous ensemble of children who portray other orphans, taken in by Fagin to become thieves and pickpockets.
The story begins on Christmas Eve, as Oliver’s mother dies during childbirth and her son is taken in by workhouse owner Mr Bumble (Michael Mahoney). Fast forward ten years, and we are treated to the familiar scene of Oliver asking for more Christmas dinner, after which Bumble decides to sell him to undertaker Mr Sowerberry (Samuel Heron).
The story is filled with larger-than-life characters, and each one is brought to life right in front of our eyes, the actors stepping out of the ensemble and slowly transforming – their bodies crumpling into a different stature, their faces contorting into new expressions. It is an effective transition and is used multiple times throughout, clearly indicating when actors assume new characters. Heron later takes on the role of the kindly Mr Brownlow, and the two characters could not be more different – if one were not paying closer attention, they could be forgiven for assuming they were played by completely different actors. The characters are over-the-top and pantomime-esque in places, which works well with the play's style, though the exaggerated voices can make the dialogue difficult to understand at times.
It is Polly Lister as Mrs Sowerberry who gives the most impactful character performance – she scuttles around the stage in a way that is almost grotesque, and has a voice to match. It is easy to feel sorry for Oliver as he becomes the subject of her admonitions – Poyser-Alton doesn’t even have to milk it that much to get the audience immediately on his side. Just when we’ve grown to dislike Lister’s Mrs Sowerberry, she appears as Fagin, another villainous and crafty character, but this time a little more charming and cunning to boot. In fact, Lister’s Fagin is so charismatic that we find ourselves willing him to do the right thing, which makes his betrayal of Oliver even more upsetting.
The plot heats up in the second act with the introduction of the evil Bill Sikes (Dan McGarry), who abuses his girl, Nancy (Analiese Emerson Guettinger). The physical abuse is incredibly stylised but still shocking and effective – the two actors never actually make physical contact, standing on opposite sides of the stage with Guettinger reacting to McGarry’s violent blows. It is a clever way of portraying the violence without making it too gratuitous. Guettinger makes for a sweet-natured, motherly figure, although one wishes she had been given a little more to do in the opening act prior to Sikes’ introduction.
Iris Laverne takes on the role of the Artful Dodger with suitable energy and enthusiasm, leading the gang of children in a fun routine that sees them pick-pocket various patrons at the local inn, in one of the more memorable musical numbers. Eliza Waters’ composition doesn’t deliver many showstopping tunes – there are no huge dance numbers here – instead serving as transitions between acted-out scenes rather than helping to tell the story. This is not akin to the famous ‘Oliver!’ musical, but it is not trying to be. The music helps to evoke the emotional energy of the scene, rather than furthering the plot. It is a useful device, made all the more enjoyable by the actors’ musical talents.
Neil Irish’s set design is everything you could ask for from a Dickensian setting, recreating a narrow street with high pavements where the upper-class ensemble loom, whilst the street urchins skulk in the gutter between the houses. Fagin’s hideout is more abstract, with a backdrop of silk handkerchiefs that creates an intimate setting whilst also referencing Fagin’s pickpocketing trade. Arnim Friess adds excellent lighting design to this, particularly in a scene at the end of the play, where a subtle lighting change makes the stage suddenly feel incredibly cold and foreboding as we are taken on a trip to a local jail cell.
This is a fun show and an excellent alternative to local pantomimes if families are looking for something a little more plot-driven. William Poyser-Alton is undoubtedly the star at the centre of this shining constellation of actors, and it is a sign of great things to come for the young actor. Poyser-Alton shares the role with Claudia Burton and Eliza Jean Poxon, who alternate as Oliver. The end of the play sees the cast burst into the Christmas carols that they have teased throughout the night, as a Christmas tree is brought onto the stage, and snow rains down on our colourful cast of characters. If you are not yet into the Christmas spirit, this is sure to do the trick. By the end of the night, you will all be mimicking our titular protagonist and shouting out, “More! More!”
