"Get yourself a cat!" Fagin cries as he narrowly escapes Bullseye. His wry advice to Bill is met with laughter from the packed Gielgud Theatre, but this production has a ferocity far sharper than its playful exterior might suggest. The show may carry a high-spirited, familiar tune or two, but, much like Sikes’ sidekick, its bite is fierce. A suffocating darkness bubbles around the edges, staying true to the gritty heart of Dickens' twisted tale.
The atmosphere is thick with tension as we catch glimpses of Victorian streets, funeral parlours, workhouses and bedsits. The claustrophobic nature of these settings is expertly crafted by lighting design duo Paule Constable and Ben Jacobs. Their masterful manipulation of light guides the audience through a contrasting world that is both menacing and joyous. The lighting effortlessly enhances the narrative, casting ominous shadows where characters seem to vanish in the pitch black night. A particular highlight is the eerie figure of the aforementioned Bullseye, brought to life through shadow, – a creature of menace, conjured from the very fabric of darkness.
The sets, designed with a stark, black-and-white aesthetic, add a haunting layer to the production, while the sharp angles and silhouettes add an almost gothic touch to the familiar streets of Victorian London. However, there is humour to be found here. World-renowned director and choreographer, Matthew Bourne, expertly deploys ‘coffin choreography’ to much delight. Characters jump in and out of the polished wooden box, a funny but striking visual metaphor that serves as a constant reminder of the harsh realities Oliver faces.