18 – 22 April
It is ten years since Michael Rosen – much-loved author, poet, presenter, performer, columnist, and former Children’s Laureate – published “Unexpected Twist”, his modern take on Charles Dickens’ “Oliver Twist”. It was, he says, a “halfway house” attempt to “lift Dickens off the page” for a younger audience which may sometimes struggle to access the author’s stories in their original form. A decade on, this reworking has itself been reworked, but this time for the stage: the result is an energetic, engaging and hugely enjoyable musical treat.
Shona is a victim of child poverty and exploitation, much like Dickens’ eponymous hero. Arriving at yet another new school, and drawn in by the treasured ‘gift’ of a new phone and a chance to provide for herself and her struggling father, an impoverished single parent, she quickly becomes ensnared in the grip of a county lines street gang, who use her to “fetch and carry” various ill-gotten items. The parallels with Dickens’ story are clear, and made even more so when Shona’s unruly English class, led by Miss Cavani, an inspiring teacher but with a secret of her own, study “Oliver Twist”. What follows is a clever intertwining of the two narratives, a modern analogy cleverly blended with Dickens’ original tale. Both serve to expose the sordid underbelly of their respective societies, to shine a light down the dark and dangerous streets of England, both then and now. In many important ways, society appears to have changed very little since Dickens first penned his celebrated tale nearly 200 years ago.
Director James Dacre brings Roy Williams’ adaptation of Rosen’s work to the stage with a vibrant and energetic performance. Conrad Murray, director of BAC Beatbox Academy, has teamed up with rising American star Yaya Bey to produce a musical score which successfully fuses elements of hip-hop, R&B, soul and grime, but does so solely through the remarkable vocal skills of this ensemble cast, not least with some scarcely believable beatboxing. At times, you can be forgiven for thinking there actually is an orchestra hiding under the stage. Alex Hardie’s beatboxing is impressive enough on its own, but the fact he continues to beatbox whilst simultaneously showing considerable acting skills as Gazz is quite remarkable. Drew Hylton is a real star of the future, showing considerable potential as Shona with her rich and sonorous voice, but in truth, all of the ten-strong cast showcase their wide-ranging talents in this high-energy and fast-paced musical.
I loved the contrast of the sounds and speech patterns of Dickens’ London with the language of today’s younger generation, both of which had me reaching for a glossary of terms. I loved the clever and imaginative staging which allows Dickens’ characters to appear both above and amidst their contemporary counterparts. But most of all, I loved the bold reimagining of this wonderful Dickens tale for a modern audience. To quote Roy Williams, it is “a collaboration which straddles the centuries.” Dickens’ enduring appeal is in his exploration of the abject plight of the working classes, the search for identity, and ultimately his protagonists’ triumph over adversity: all of these are themes which resonate with a modern audience. Were Dickens alive today, I have no doubt he would enjoy this clever and thought-provoking show just as much as I did. I think he would approve.
★★★★☆ Tony Clarke 19 April 2023
Photo credit: Manuel Harlan
