Oliver!--A Truly Glorious Production 

       By Joseph Cervelli

I have to admit that I never saw a live production (not even at a community theater) of the beloved musical "Oliver!" I only saw the lavish film version. So, was thrilled to attend the Encores! presentation of it.  Encores! tends to be more scaled down in terms of production design (although David Rockwell's two tiered setting works perfectly for this show) but this is certainly an ebullient, stunning production thanks to the sublime cast.  Despite some grimmer moments this basically family musical would be a welcome edition on Broadway. It originally had a lengthy Broadway run in the ‘60’s. It is too joyous a show to have only a two week run.

I cannot imagine anyone unfamiliar with the Charles Dickens’ array of such varied characters as he created in all his novels. The downtrodden, the wealthy, the kind, the vicious. And quite important the social inequities of classes along with corruptness of the system. And this show has it all.

The moment that the simply wonderful Benjamin Pajak (this young actor is going places) takes to the stage you sit up and notice. Pajak was a delight in "The Music Man" yet here he really comes into his own. The character of Oliver while not a minor one because he is the central force here, only has one big number with comes at the beginning of the show after he leaves the workhouse where the orphans live to become an apprentice to the miserable undertaker Mr. Sowerberry (Thom Sesma) along with his equally cruel wife (Rashidra Scott). His heartrending rendition of the gorgeous "Where is Love?" is so honest and moving that it is one of the highlights of the show. Pajak not only is a confident performer but has this ability to convey sadness (watch the almost quivering look on his face while being escorted from the orphanage) to happiness which comes much later. He also has the necessary feistiness when a young employee of Mr. Sowerberry insults his deceased mother and he starts to pummel him. Physically, Pajak is thin and enhances this so he brings a waif like character to Oliver. The realism he brings to the stage at such a young age in quite an accomplishment.

As the master of the workhouse Mr. Bumble, Brad Oscar is perfectly blusterous and Mary Testa is a fine counterpart to him as the mistress of the workhouse, Mrs. Bumble. 

When Oliver escapes the Sowerberry's clutches he ends up meeting an experienced older pickpocket, The Artful Dodger (a winning Julian Lerner) who takes him to meet his fellow young thieves in the hideaway of the unforgettable character Fagin (the incomparable Raul Esparza). Fagin is a devious, though quite appealing character who has a genuine fondness for his "boys" and Esparza brings an unusual warmth in caring for them. Esparza is an experienced enough actor to know when to pull back so he does not "chew up the scenery." But he has the ability to take the stage by storm and still never overdoing it. His "You've Got to Pick a Pocket or Two" is fancifully and zestfully performed as he prances around showing the inexperienced Oliver how to go about doing it. There is one particularly touching moment when he gently places the sleepy Oliver on a space to sleep as he looks over him to make him as comfortable as possible lying on a wooden floor. Esparza has this ability to in a moment's notice change his character's demeanor. I will never forget extraordinary performance of Bobby in "Company." His rendition of "Being Alive" is still the best I have heard to this date.   His last number "Reviewing The Situation" when he has lost the boys and his livelihood varies from humor to sadness. He dances around the stage in a state of dilemma which never for a moment feels out of place. He is quite the eccentric character with his unkempt hair and clothing which is a pastiche of whatever he possibly found (excellent costumes by Sarafina Bush). And that last moment when realization takes place and he knows he is on his on is almost startling. He looks out knowing he is lost and must move one. He makes for an unforgettable Fagin. 

Lilli Cooper is a robust and perfectly delightful Nancy who was one of Fagin's older members of the pickpocket group. She is madly in love with the psychopathic Bill Sikes (a truly menacing Tam Mutu). Even though there is a brutal scene where Nancy meets an unfortunate end director Lear Debessonet's razor sharp direction makes sure it occurs basically offstage. I am not sure how much grittier this production is from what I have read it to be,  having not seen previous ones. But glad Debessonet kept things intact. I did wonder (again only based on this production) if Nancy might be feistier than other actors who played the part but it works here for her love for Oliver and for the insidious Sikes is her ultimate downfall.  

Besides the unsurpassed skill of the performers, the key to making this show work is the rousing score  of composer Lionel Bart. His luscious score from the snappy "Consider Yourself" to the moving "As Long as He Needs Me" is always balanced. Being the bookwriter for the original show he makes sure that  neither the comedic moments nor the dramatic ones overshadow each other. They all blend together perfectly. 

Great credit must be given to choreographer Lorin Altar for her exhilarating staging. One number that was a standout was the youngsters creating a carriage by holding white parasols as wheels  in which Nancy and Dodger driving around as wealthy members of society. Also, the Youth Ensemble which is made up of 20 public school children come out for only one number, the buoyant "Consider Yourself." It certainly was a treat. 

Everything in this vividly acted and sung production works to perfection. Let's hope some producers bring this to Broadway where it most definitely belongs.

PHOTOS: Joan Marcus 

Tickets are available at City Center 131 West 55th Street. The show runs till May 14.