Kismet Arts Studio and Theatre Astounds with “Oliver”

Emily Pace as Nancy shields Hudson Ratcliff as Oliver

Occasionally a talented director in community theatre will stumble upon the key to superb community theatre and a masterpiece is created in an unexpected place.  Angela Polk and Laura Himes own the Kismet Arts Studio and Theatre and their first full-fledged community performance of “Oliver” is a masterpiece, however the success of their production is no stumble.  It is, rather, the result of perfect understanding in birthing superb community theatre.

Almost everyone is familiar with the work of Charles Dickens in the wonderful novels he created, set in Victorian England.  In the middle of the Industrial Revolution there was great social upheaval resulting in countless families trying to make a better life working in industry yet falling victim to overcrowded conditions, unscrupulous employers, and a class system that made life a torment for the ‘unfortunates’ crowding the cities.  Often women had no recourse, and men had no remorse.  Such was the case of one lovely woman named Agnes.  Dickens did not write about the trials and tribulations of the poor mother who died giving life to a beautiful son.  He wrote about the life of the orphan boy who was taken into the poor house with the other orphans and given the name Oliver Twist by the overseer, a grasping selfish un-gentleman named Mr. Bumble. This second novel of Dickens became the foundation of Lionel Bart’s wildly successful musical “Oliver” a captivating show with a mesmerizing cast of young urchins.

Don Taylor as Fagin gives the gang instruction in their craft–‘you have to pick a pocket or two!’

The young orphan has the temerity to request more food, and the entire group of starving orphans bursts into the song ‘Food, glorious food’ in true voice.  Mrs. Corney works at the poor house and, at her instigation, Mr. Bumble sells Oliver to a local undertaker.  She also instigates a marriage between herself and Mr. Bumble.  They do make a lovely couple, don’t they?

Oliver does not fare well at the funeral establishment run by the intemperate Mr. Sowerberry and the grasping Mrs. Sowerberry.  Their apprentice Noah Claypole, wishing to impress the lovely Charlotte teases Oliver about his mother forcing Oliver to defend her honor.  Oliver escapes and manages to reach London where he intends to seek his fortune.  The excesses of the industrial age are not any better in London and he attracts the attention of Fagin.  Fagin has a group of organized thieves, all children who have learned to skillfully ‘pick a pocket or two’ thereby supporting Fagin, and his former protégé, the strong silent adult gorilla named Bill Sykes.  Bill seems to have no redeeming qualities other than capturing the love of the beautiful Nancy, who once envisioned a better life for herself.  When Oliver is caught and befriended by Mr. Brownlow that may be his salvation.  But Sykes will not have it, fearing that Oliver will speak to authorities and Sykes will be bound for the hangman.  Oliver’s search for the true love of a caring family is very nearly spoiled in spite of Nancy’s best efforts.

The cast of “Oliver” consists of the very talented students attending Kismet Arts Studio and Theatre.  The adult roles are played by members of the Oklahoma City theatrical community and we are very familiar with their impressive work.  Angela Polk directs and Laura Himes is musical director while Kylan L. Durant is the choreographer.  Here is the key to the brilliance of this particular performance: acting.

A very simple key, but quite often musicals rely on vocals and dance to convey a message, and sometimes emoting is either over-looked or under-done.  The story is tragic yet there are many humorous moments that come from each characters ability to cope with the circumstances of his station in life.  The characters are often quite wonderful in their sweetness or villainy and the performers must act, react and listen as well as speak their lines.  All of the adults in this “Oliver” do that with perfection, and all of the children follow their lead evenly with equal perfection…  They do so with truth and realism.  It just so happens that they can also sing and dance with skill and soaring voices making this “Oliver” very special.  It has everything.

“Oliver” is showing through August 12, 2018 at the Kismet Arts Studio and Theatre located at 12201 N. Western.  The Devon Energy Theatre is in the Special Care building that provides such great service to the community.  The proscenium stage in the auditorium is deep-set and due to contributions from Vince Gill, as his name graces the arch.  However, it is under the arch that the magic takes place so it would be prudent to attend this production.  Call Kismet at 405-367-7225 or visit www.kismetartsokc.com for tickets and information.  Special Care’s location is at the corner of Western and 122^nd Street and 122^nd is the best entrance to access the theatre.

Hudson Ratcliff (Oliver) listens as Emily Pace (Nancy) declares her loyalty in song to Don Taylor (Fagin) and Andrew Himes (Bill Sykes)

In a review such as this it is usual to pay special attention to the incredible performances of the best leading actors.  There are 38 performers in “Oliver” and it is impossible to give them all the credit that they deserve, but it is going to happen anyway.  They deserve it, so get a cup of coffee, get comfortable and read on:

Don Taylor as Fagin and Emily Pace as Nancy stand out in “Oliver” as their talent and range lead them to do in every production they grace.  They are brilliant, and they listen to Oliver with respect and intent.  It is clear that this is the usual approach.  The young talent who plays Oliver is Hudson Ratcliff and he listens back, establishing rapport.  It is quite clear that the same rapport exists on alternate nights when another young talent, Michael James performs the role of Oliver. 

Mr. Bumble and Mrs. Comey who take advantage of all the orphans do not listen to Oliver; they do not listen to the needs of any of the orphans under their care.  They do listen to their greed; they listen to their selfish desires and ignore everyone else.  Clearly both Matt Barger as Mr. Bumble and Aubrey Chapin as Mrs. Comey are quality actors and perfect for their roles. 

While not listening to the rumbling stomachs of their young charges, the rumbling stomachs are talking and when Oliver inexcusably requests more food the children erupt into the delightful song and dance routine—‘food, glorious food’ and they loosely form a chorus line.  It is not like any chorus line in a Hollywood extravaganza-it is exactly like a group of children who are listening to their bellies even as they line up as children are forced to do everywhere.  Each character is established by these children with diversity and interest, and they know exactly what they are doing.  They are acting.  The fact that they are doing so while singing beautifully and dancing artistically and individually is amazing.  They are marvelous performers and their names are Charlotte Anderson, Colton Anderson, Maddie Bertsch, Annie Brown, Nathan Horsch, Anthony Neumann, Nate Peterson, Kate Sparling and Jacob Wade. However the two youngest, David Helm and Emory King are especially adorable and winsome as well as interesting and they nearly steal the show.  Nearly, they are already too professional to actually do that.  These children also play the ne’er do well’s in Fagin’s gang, and establish different characters for those performances.  What an amazing group! And now we are about halfway through paying tribute to this delightful cast.

The undertakers who purchase Oliver from Mr. Bumble are Mr. and Mrs. Sowerberry and they are another pair of greedy, grasping villains.  Mrs. Sowerberry is particularly menacing as she assures Oliver that he will rest well among the coffins because he has no choice.  Mr. Sowerberry may have once had some redeeming qualities but he has embalmed himself in a different fluid that is nonetheless as damaging as the fluid he uses on his clients.  To the bereaved they are the picture of empathy, sympathy and sorrow, to Oliver they are certainly not.  Elizabeth Dragoo is quite chilling as Mrs. Sowerberry and TJ Brown is quite chilled as the master Undertaker of Sowerberrys.  They have a lovely young maid, Charlotte, who chooses to use bacon as her seductive aid when Noah Claypole, assistant undertaker in charge appears at work.  Noah Claypole is skillfully created by Michael Jobe and the beautiful Charlotte is the equally beautiful and talented Sonnet Lamb.

Moving on to Fagin’s gang of miniature cutpurses specializing in handkerchiefs; we have the Artful Dodger, a favorite character of all who love Dickens.  Jack Sampson is not only the Artful Dodger, he is an artful actor, and he inspires a trust in Oliver that is quite believable.  It is no wonder that Oliver is willing to follow him, and willing to cover for him.  

Of course, here we first meet Fagin and Nancy and the brilliant performances by Taylor and Pace are matched by Sampson and Andrew Himes as strongman Bill Sykes. Himes is quite the tough bully and his realism is uncannily frightening.  Nancy’s friend Bet seems to be a little younger version of Nancy and her character is charmingly played by Ella Latham.  These adults seem quite able to capture the respect of their young miscreants through love, fear, and a great deal of charm. 

There are several ensemble members not yet mentioned some of them adults, and some are young understudies but they all prove positively that there are no small parts.  Erin Smith stands out in song and grace, David Patterson in strength and dedication, Bella Bullock, Arden Hearne, Jessica Vanek, Maddie Wall and Aubrey Miller are all excellent examples of beauty, charm and exceptional talent.  Andrew Tompkins is quite the handsome fellow who will continue to be seen and appreciated at Kismet and Oklahoma City University. Johnlee Lookingglass is an amazing talent with commanding presence and sensitivity.  The simple yet amazing handling of a pewter cup tells the tale of a burgeoning talent that cannot be ignored.  Robert Cooper is a familiar face to many who attend community productions of note and he is more than just an ensemble member, he is the knife grinder.  He can sharpen a knife as easily as he can sharpen a character.

Fagin’s gang from “Oliver” at Kismet lead by Jack Sampson (the Artful Dodger in a blue vest)

Oliver is rescued at last and the kindly Mr. Brownlow is lovingly played by Charlie Monnot.  Monnot has the capacity to exude incredible empathy in all his characters, and although he sees Oliver’s resemblance to his daughter, we see Oliver’s resemblance to him.  Brownlow is truly a good man and with just a little love and care Oliver will become another good man.  Their chemistry is clear.  And he listens intently, magnetically.  The lady of the house, Mrs. Bedwin is sweetly played by Denise Hughes.  She makes Mrs. Bedwin’s management of the Brownlow house effortless and caring.  She nurses Oliver with care although Dr. Grimwig isn’t so sure that Oliver is of the quality to deserve the care he treats his injuries and advises Mr. Brownlow with a slight pomposity that is familiar to many patients. Daniel Willsey creates the assertiveness typical of medico’s although modern doctors are above the prejudice.  And with all these various characters the young actor, Hudson Ratcliff is consistent and amazing.

Julia Donaldson is a pretty young woman in the program photograph.  She portrays the elderly woman, Sally, who attended Oliver’s mother Agnes at his birth.  She holds the key to Oliver’s origins in the locket that she put in her pocket and kept.  She makes Sally’s age, infirmity and guilt poignant and sympathetic with skill and a touch of gray.

This amazing talent is all due to the dedication of Angela Polk, a director with a magic touch.  Musical director Laura Himes not only brings out the best tones of every voice, large and small she conducts and performs with an amazing band consisting of Jordan Andrews on piano, Megan Dixon on violin, Abigail Pappas on Clarinet, Clement Braden on bass and Zach Prall on drums.  The band complements the singers beautifully and are clearly musical talents.

Of special note is, of course choreographer Kylan L. Durant and Fight Director Luke Thomas Eddy. Natural movement in dance is essential, and realistic motion in a fight is of paramount importance. Additionally many cast members are also competent crew members. Sydnee Forsythe is clearly an extremely reliable stage manager and Carrie Helm as Assistant Director along with Tori James Assistant to the Director are indispensable to the success Polk and Himes have with this production. Anna Holloway as dramaturg and dialect coach provides the backup needed to establish the excellent characterizations.

It may seem odd that there is such enthusiasm in this review for a simple little community theatre production.  But there is great delight and great honor in their discovery that truth and genuine characterization even with characters who border on caricatures can come from so many young people.  It is that key, that acting key, that provides this enthusiasm and the fact that each and every performer from professionals to amateurs truly loves the theatre.  Universally they love the music, they love the dance and they love the people they are privileged to become and allowing us to enjoy with every fiber of their being.