In Village Theatre's Hands, `Oliver!' Does Deliver More

Theater review "Oliver!" Book, music and lyrics by Lionel Bart. Directed by Jeff Steitzer. Produced by Village Theatre, 303 Front St. N., Issaquah. Wednesday-Saturdays through Jan. 14. 392-2202 or 292-ARTS.

Those irrepressible little street urchins from Charles Dickens' "Oliver Twist" are back again, singing and dancing and demanding "More food, sir," in a new revival of "Oliver!" at Village Theatre.

Jeff Steitzer's production has great visual appeal at the Village, which this season is expanding on the visual possibilities of its well-rigged new playhouse.

Norm Scrivner's marvelous scenic designs here do not cut corners. Embellished by Greg Sullivan's dramatic lighting, the illustrative sets gracefully evoke all the locales and moods called for in this rags-to-riches tale about an orphan boy wending his way through heartless, colorful Victorian England.

It is all there on atmospheric display: the drab orphanage where Oliver (played by an irresistibly guileless Edmonds fourth-grader, Brian Ward) spends his earliest years; the grungy thieves' den of the ringleader-surrogate father Fagin (Michael Cimino); the bustling London streets with banks of rowhouses and St. Paul's Cathedral in the background; London Bridge in the eerie midnight mist; and the steep rooftop where the villainous Bill Sykes (Eric Jenson) meets his destiny.

If the rest of the production doesn't always rise to the highly professional level of its visual elements (including the charming period costumes by Deanne Middleton), it comes close enough to keep kids and adults diverted.

In case you've never seen the excellent 1968 film version of Lionel Bart's 1960 musical, or it has faded from memory, be reminded that Bart spangled his intelligent adaptation with catchy tunes. The whole enterprise has a cheeky British musical verve that adds bounce to Dickens' sentimental muckraking.

Outfitted in a ratty bathrobe, blackened front teeth and a scraggly gray wig, Cimino is all darting eyes and itchy fingers as the grasping Fagin. He's fun, but he soft-pedals the character rather too much - making Fagin about as lovable as a larcenous old miser can get in his sly solo turns, "Pick a Pocket or Two" and "Reviewing the Situation."

Big and imposing, Jenkins serves well as the brutish sociopath Sykes. And ninth-grader Michael Tomkins gives his all as the Artful Dodger, the cocky young tough who ushers Oliver into a life of crime in the peppy "Consider Yourself" number.

The most impressive performance comes from Kathy Henson, as Bill's ill-fated lover Nancy. Henson, a regular on the local musical comedy scene, just gets better and better as she goes along. She has a blunt, strong voice to put over the masochistic ballad "As Long as He Needs Me," and a randy spunk that brings oomph to "It's a Fine Life." (The only thing missing is a streak of hurt to suggest why she's so loyal to a creep like Sykes.)

Less effective are Sherri Brookfield Jordan (as Widow Corney) and Dale Green (as the pompous orphanage head Mr. Bumble), who fumble through a broad comic courtship. And Ann Evans' shrill turn as mean Mrs. Sowerberry, the undertaker's wife, is undercut by an absurd fake nose that can be spotted as phony from the last row. (When that schnozz is onstage, all eyes stay glued to it.)

The chorus of little boys, some of them recruited from Village's Kidstages drama program, play a major part in the proceedings and carry off their duties reasonably well.

In the opening "Food, Glorious Food" number, choreographer Steve Tomkins saddles them with too many stock unison gestures, diminishing all signs of spontaneity.

In other instances, though, especially the sunny "Consider Yourself" and "It's a Fine Life," Tomkins' whirling, jigging ensemble dances are boisterous good fun.

A few flubs aside, the orchestra sounds fine, but the vocal mikes need some adjustment - as they so very often do in theaters much larger, and less enterprising, than the Village.