London Theatre Review: Oliver!

There’s no denying that Lionel Bart’s Oliver! is a staple of musical theatre. I’d put good money on around 80% of the population knowing at least one song, even if they have never seen it.

It’s these songs that pull people back each time there is a revival, but the question on my mind was: how on Earth do you reinvent the wheel again? After the opening number, I found my simple answer… don’t fix what isn’t broken. 

Directed and choreographed by Matthew Bourne, this interpretation is truly thrilling. It includes exactly what you want to see from any Oliver! production - big show tunes expertly performed with the dance routines to match.

Consider Yourself in particular is a riot of colour. A revolving stage showcases the hustle and bustle of London’s Victorian streets. Every inch of space is used, with characters appearing in the viewing boxes to each side of the stage, along with a lowered balcony of dancers from the top of the curtain line which encompasses the spirit of the scene.

This sequence however, would be nothing without Billy Jenkins as The Artful Dodger. I was blown away at the zealousness on show. His injection of energy comes at just the right time and he has it all - the accent, the walk and the brashness. At just 17 years old, this young man will go far.

In fact, this performance is brimming with the stars of tomorrow. Oliver, played by Cian Eagle-Service on this occasion was excellent. Where Is Love? has real emotion along with pitch perfect vocals.

There are so many other characters to mention too. Shanay Homes’ take on Nancy is very similar to those before her, but she excels as you would expect in As Long As He Needs Me. Aaron Sidwell’s Bill Sikes is just as pernicious as those who have stood in those shoes before, but there seems to be something even darker about him. Special lighting cleverly makes it seem like Bullseye his dog is always close by, too.

Simon Lipkin as Fagin is tremendous and different. The way he speaks to the audience and orchestra at times almost feels like there is a switch to panto, but it is brilliantly executed and very funny. Anyone can read a script, but it takes a true performer with charisma to bring the words to life - he has it in abundance. 

There are some differences too. I’ve never seen workhouse manager, Mr Bumble in quite such an amorous mood before, but it weirdly works and shows a much more playful side to his nature.

The staging also feels refreshed too - large projectors help demonstrate the exterior of the grimy workhouse, or to highlight movement as the characters run through the streets of London. You can tell producer Cameron Mackintosh has been involved to revitalise this production.

This show enjoyed a sold-out run at Chichester Festival Theatre, and has just been extended in the West End until March 2026 which suggests initial ticket sales are going incredibly well. With an iconic score that has stood the test of time, what’s not to love? Give it a go and I promise you’ll be asking for more.