Lionel Bart's classic musical through the generations: Judi Herman reflects on Oliver! since her inaugural childhood visit, as grandson Dylan experiences it for the first time

The beloved phenomenon that is Lionel Bart’s Oliver! first opened in London in June 1960. Happily, for me, my parents deemed me old enough aged nine or 10 to see it during that first unforgettable six-year run. I can still see it in my mind’s eye, the storytelling in song and dance on Sean Kenny’s landmark rotating turntable set.

I've seen several terrific productions since, and the chance to take my nine-year-old grandson Dylan, who’s been learning the songs at school, to see this especially unforgettable revival was a gift. We were both transfixed from the get go. Dickens’ dark yet vivid narrative is told on a brilliantly conceived set, which is inspired by Kenny’s original design.

The dancing and movement are stunning, as you would expect from director and choreographer Matthew Bourne. The cast is exceptional, from Shanay Holmes’ empathetic and emotional Nancy, to the smallest workhouse resident and member of Fagin’s 13-strong gang, Raphael Korniets' feisty Oliver (one of four young actors sharing the role in the run). “All the children were amazing," said Dylan. "My favourite actor was the Artful Dodger.” Billy Jenkins’ portrayal of the character is indeed a live wire, a budding Fagin who clearly relishes taking Oliver as an ‘apprentice'.

Notably, Bourne and co-director Jean-Pierre van der Spuy, in a version with revisions and new material by Cameron Mackintosh, have reimagined Fagin as a rather younger, though equally villainous controller of the child pickpockets. In Simon Lipkin’s colourful performance as Fagin, he grips the audience with the dexterity of a stage conjuror, performing coin tricks with comic flair. Dylan was especially taken with him: “I really liked Fagin because in some ways he was exactly like I’d imagined him, but in other ways he was really funny and I liked that too.”

Much as I loved Ron Moody, the original Fagin, it was a refreshing relief to see him reimagined as a younger man – and although Lipkin is Jewish, which feels entirely appropriate, there’s nothing of Dickens’ Jewish caricature about his portrayal, which feels especially sensitive in this time of rising antisemitism.

This is an particularly nuanced retelling of Oliver!. There is a genuine relationship between Nancy and Aaron Sidwell’s Bill Sikes. It doesn't shy away from the violence, but Sikes is as much a tortured soul as a stage villain. He even elicits some sympathy as, terrified, he flees his impending doom. His brutish dog Bullseye is actually more sinister as evoked simply by a shadowy silhouette, thanks to magical lighting design by Paul Constable and Ben Jacobs.

The adult supporting cast all excel. Mr Bumble (Oscar Conlon-Morrey) and Widow Corney (Katy Secombe) are wonderfully unempathetic and far from child-friendly – and fun in their arch flirtation. The undertakers Mr & Mrs Sowerbury (Stephen Matthews and Jamie Birkett) deliver their brilliant upbeat number 'That’s Your Funeral' with wicked relish and sinister fun with a coffin. By contrast, Philip Franks as the more kindly Mr Brownlow provides real warmth as Oliver’s saviour.

Bart’s music and lyrics are a huge part of the magic of Oliver! and the whole audience seemed to know every note and lyric played by the 12-strong orchestra conducted by Graham Hurman, with new orchestrations by Stephen Metcalfe.

At the curtain calls, the whole audience was on its feet singing along with ‘Consider Yourself’, including Dylan, who went one step further – literally – and stood on his seat to dance. Just as well it's running into 2026, because undoubtedly people will be clamouring for more.

By Judi Herman (and nine-year-old Dylan)

Photos by Johann Persson

Oliver! runs until Sunday 29 March 2026. 7.30pm, 7pm (Mon & Tue only), 2.30pm (Wed & Sat only). £65-£150. Gielgud Theatre, W1D 6AR. oliverthemusical.com