Step right up, ladies and gents, for a musical journey through the Dickensian alleyways of Lionel Bart’s timeless creation, Oliver! This classic show, with its heartwarming tale of an orphan’s quest for a second helping of gruel and a better life, has been immortalised in a symphony of recordings that spans more than six decades. From the cobbled streets of its London debut in 1960 through the Broadway opening on January 6, 1963, which we are commemorating today with this column, to contemporary revivals of the show, Oliver! has serenaded audiences worldwide with a myriad of cast albums, a film soundtrack and studio recordings that rival Fagin’s collection of stolen goods. So, dear readers, let us embark on this sonic adventure and unravel the best recordings of Oliver! – the ones that might make you want to ‘pick a pocket or two’ to get them into your collection!
5. The Not Quite Broadway Cast Recording
The so-called original Broadway cast album of Oliver! (it actually features the cast of the pre-Broadway tour, most of whom stayed with the show) presents a more polished but sadly more generic rendition of the show than the London recording. Although the Broadway recording lacks the raw charm found in its predecessor, it compensates with a slightly more refined sound production. The actors in the children’s roles, notably Bruce Prochnik as Oliver and Michael Goodman as the Artful Dodger, boast more secure vocals than their London counterparts while building their interpretations on Keith Hamshere and Martin Horsey’s foundations. Georgia Brown, who reprises the role of Nancy, demonstrates an increasingly seasoned delivery here, particularly shining in “I’d Do Anything” and “Oom-Pah-Pah.” However, the emotional impact of “As Long as He Needs Me” loses some of the immediacy that made the song so stirring in Brown’s rendition on the earlier recording. Clive Revill’s Fagin is competent but lacks the distinctive edge and vitality Ron Moody brought to the character, especially when he revisited the role for the film. In the final analysis, while the Broadway recording may not capture the unbridled authenticity of the 1960 London cast album, it remains a listenable rendition that showcases the score’s enduring appeal.
4. The Film Soundtrack
In the pantheon of Oliver! recordings, exploring the various early renditions is fascinating, as each has considerable strong points as well as imperfections. The standout on the 1968 film’s soundtrack is Ron Moody’s triumphant return as Fagin. Moody injects newfound nuance into the role, building upon his stellar performance in the 1960 London production and on its cast recording. Shani Wallis adds another layer of brilliance to the proceedings, infusing Nancy’s songs with heartfelt emotion. Her standout moment comes in the brilliant repurposing of “Oom-Pah-Pah,” which showcases Wallis’s vocal prowess alongside some captivating acting. Jack Wild’s Artful Dodger is also great fun. On the negative side, this album’s spark takes some time to ignite, with a supporting cast in the earlier songs that doesn’t quite deliver what actors in other recordings of the show bring to the table. Following an “Overture” that is just all right, a robust “Food Glorious Food” gives way to a handful of tracks that fail to draw in listeners as effectively as when paired with the film’s visuals. Although the soundtrack has some highlights, it falls short of capturing the cinematic magic that makes Oliver! a movie classic.
3. The 1994 London Revival Cast Recording
The 1994 London revival’s cast recording of Oliver! presents a refreshing overhaul of the material, breathing new life into Bart’s classic score through revamped orchestrations by William David Brohn. Brohn’s strength lies in illuminating the show’ subtext, providing a deeper understanding of the world within the songs. Even though it falls short of Ron Moody’s iconic portrayal, Jonathan Pryce’s performance in the role is more than serviceable, standing head and shoulders above Rowan Atkinson’s overly broad rendition in the 2009 revival of this production’s recording. Sally Dexter shines as Nancy, delivering a superb rendition of “As Long as He Needs Me” that skillfully builds emotion without succumbing to contrivance, a common pitfall in more modern interpretations of the number. The use of new recording technology allows for a more extensive album that incorporates underscoring and dialogue, notably effective in the “London Bridge” sequence. This modern take on classic material is generally commendable, but is often in danger of veering into overindulgence and overplaying – issues that plague the aforementioned 2009 revival’s recording, which leaves one yearning for a subtler approach. Overall, the 1994 revival recording successfully balances innovation with respect for the source material, compelling enough to secure a place among the top recordings of the show.
2. The Original London Cast Recording
Were the quality of the recording itself better, the original London cast album of Oliver! would be the definitive auditory treatment of this musical. As it is, the recording is a lively encapsulation of the show’s freewheeling structure, brimming with the infectious energy and genuine charm Bart infused into every note and word of the score. Even though the score may not be flawlessly sung, especially when it comes to the child actors, the imperfections contribute to a sense of authenticity, creating an intimate connection with the raw, unpolished spirit of the narrative. Ron Moody’s portrayal of Fagin is nothing short of legendary, transcending the character’s origins with his heartfelt interpretation of the role. As for Georgia Brown, her rendition of “As Long as He Needs Me” is a masterclass in emotional depth, delivering a no-holds-barred performance that sets the gold standard for the delivery of this song. Her versatility shines through in her equally masterful handling of the score’s comic moments. In one of the smaller roles, Hope Jackman as Widow Corney is unmatched in her playing of “I Shall Scream,” a role she would repeat on Broadway. Overall, this first cast recording is joyful and engaging, capturing the essence of Oliver! with unmatched fervour.
1. The 2009 Release of the 1991 Studio Cast Recording
In an unexpected twist, JAY Records’s 2009 release of their 1991 studio cast recording of Oliver! catapults to the zenith of this list in defiance of my usual preference for cast albums. The unique ensemble brought together here includes some performers from the Sadler’s Wells National Youth Music Theatre production who have played their respective roles and had some time to develop character and nuance. Julian Forsyth, who played Fagin in that production, delivers a performance rivalled only by Ron Moody, injecting a spirited energy that gives even the Moody’s brilliance a run for his money. The child actors also shine, infusing their songs with solid vocals. Richard South also ushers in the now-standard portrayal of the titular character as a figure with agency rather than a mere angelic presence. Further factors contributing to this recording’s narrow dethroning of the 1960 London cast recording is the re-recording, remixing and remastering that took place decades after its original release, with the noteworthy introduction of three new vocalists, including Sally Ann Triplett as Nancy and Will Kenning as Bill Sykes, replacing opera singers Josephine Barstow and Richard van Allan. While Barstow and Van Allan give their songs a good go, they never feel quite right in the roles. In contrast, Triplett’s musical theatre expertise empowers her to lend dynamic nuances to her rendition of “As Long as He Needs Me,” which reaches a searing climax, and Kenning releases into the acting of “My Name” in a way that Van Allan just doesn’t. Propelled by new recording technology, the overall sound quality of this release is unparalleled, solidifying its claim as the foremost interpretation of Oliver! in the realm of recorded performances.
And there you have it, dear musical enthusiasts, our grand tour through a veritable archive of Oliver! recordings. As we emerge from the streets of London, it becomes clear that each recording of Oliver! is a testament to the enduring magic of Lionel Bart’s creation. Much like Oliver Twist himself, who sought more from life, we find ourselves in the fortunate position of having a plethora of options to savour. Whether it’s the nostalgia of the debut London cast or the modern charm of recent renditions, each album adds a unique flavour to a glorious musical feast – so crank up those speakers, and ‘consider yourself’ home free!
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