As an NSTA representative, I had the great pleasure of watching The Crypt School’s production of Oliver! performed on Saturday 29th November 2025. What a triumphant choice for the school’s first full-scale musical since 2019, particularly under the leadership of a new Director, Mrs A Crozier, and with an entire cast experiencing a whole-school show for the very first time. The ambition and scale of the undertaking were admirable, and the sense of collective commitment was evident throughout.

Oliver! is the musical adaptation of Charles Dickens’s 1838 novel Oliver Twist, with book, music and lyrics by Lionel Bart. Premiering in London’s West End in 1960, it became an instant success thanks to beloved numbers such as ‘Consider Yourself’, ‘Food, Glorious Food’ and ‘Where Is Love?’. It later transferred to Broadway in 1963, winning three Tony Awards, including Best Original Score. Over the decades, Oliver! has become a firm favourite in school theatre, celebrated for its rich ensemble opportunities, iconic character roles and blend of drama, humour and memorable music.

The staging of this classic was handled thoughtfully by the production team. Working within the practical limitations of a stage without wings, backing boards were cleverly utilised to create both side masking and a stage backdrop. Above these, strung handkerchiefs and laundry effectively evoked the cluttered atmosphere of Fagin’s hideout. The use of the trapdoor as an entrance into Fagin’s den was particularly imaginative, lending a convincing sense of a hidden criminal underworld (or attic!) and adding depth to the storytelling.

Oscar’s Oliver was portrayed with touching youthful innocence. He captured the downtrodden vulnerability of the character, particularly in his fearful encounters with the menacing Bill Sikes and blustering Mr Bumble, and delivered the famous plea, “Please, sir, I want some more,” with sincerity and clarity. His rendition of ‘Where Is Love?’ was a standout moment of the evening. This song, often challenging for young performers due to its sustained phrasing and delicate emotional demands, was delivered with impressive breath control and genuine feeling. It was a beautifully shaped performance, and one that demonstrated considerable vocal promise. ‘Who Will Buy’ further showcased his lyrical tone and musical sensitivity.

Daniel’s Artful Dodger burst onto the stage with charisma and an assured East End accent. His rendition of ‘Consider Yourself’ set the tone for the camaraderie of Fagin’s gang, and the energy generated by him and the ensemble prompted spontaneous audience participation. It was a confident and engaging performance.

Jai’s Fagin was brimming with energy and comic invention. Fagin’s role demands stamina and precision in navigating lengthy passages of dialogue and patter, and Jai met these demands with confidence. His performance of ‘Reviewing the Situation’ was a highlight, combining characterful acting with strong engagement with the audience.

Bill Sikes was played with understated menace by Iasonas, who resisted caricature and instead built a quietly threatening presence. His first entrance, producing stolen items from various pockets before culminating in the reveal of a necklace concealed in his mouth, was both atmospheric and sharply executed, working effectively alongside Fagin’s rapid commentary.

Tifaine’s Nancy was portrayed with maturity and emotional depth. ‘It’s a Fine Life’, alongside Amelia’s lively and well-judged Bet, was full of character and vitality. However, it was in ‘I’d Do Anything’, performed with Daniel, that Tifaine particularly shone. The chemistry between the pair was natural and warm, and the duet was both musically secure and dramatically engaging.

Indeed, the ensemble work was a particular strength of this production. ‘It’s a Fine Life’ was a highlight of Act One, with Nancy and Dodger establishing strong character dynamics, Bet and Oliver contributing polished vocals, and the chorus filling the stage with enthusiasm. The reprise in Act Two, sung by Nancy, Bill, Fagin and Bet as the narrative builds to its crescendo, was charged with tension and effectively underscored the shifting dramatic stakes.

There were many notable performances from the supporting cast. Brandon’s Mr Bumble was suitably pompous and affronted, with ‘Boy for Sale’ providing an opportunity to display a resonant vocal performance.Carleigh’s Widow Corney demonstrated excellent comic timing, particularly in ‘I Shall Scream’, which was both vocally secure and theatrically playful. Connor and Lauren brought suitably macabre humour to Mr and Mrs Sowerberry, relishing the seedy tone of ‘That’s Your Funeral’ with clear character choices, oozing seedy, awfulness in all the right ways.

The ensemble, impressively large for the school’s first full musical in six years, provided consistent support to the principals while maintaining strong characterisation of their own. Whether as workhouse children, Fagin’s gang or lively public house patrons, they remained focused and committed. ‘Pick a Pocket or Two’ was delivered with spirited precision, and ‘Oom-Pah-Pah’ in Act Two was a joyful, high-energy moment that reflected the cast’s evident enjoyment and strong rehearsal discipline.This production of Oliver! was a confident and commendable return to large-scale musical theatre for The Crypt School. Under Mrs Crozier’s direction, the cast and creative team demonstrated ambition, teamwork and a clear dedication to storytelling. Strong principal performances, vibrant ensemble work and thoughtful staging combined to create an evening of engaging and heartfelt theatre. The Crypt School should be immensely proud of this significant milestone production, which sets an exciting benchmark for future musical endeavours.