As an NSTA representative, I had the distinct pleasure of attending the final performance of the Royal High School’s whole-school production of Oliver! on Saturday, 6 December 2025. The production was directed by the tremendously dedicated Head of Drama, Ms Vincent Norgate, with musical direction from the effervescent Mark Bradbury and choreography from RHS newcomer, Mrs Charlotte Hough. I was intrigued to see how an all-girls school would make its mark on a male character-led musical, but I need not have worried. From the moment Daisy E’s Dodger crackled over the tannoy, warning us to guard our small change, it was clear we were in for a right old treat.
OliverI is a musical adaptation of Charles Dickens’s 1838 novel Oliver Twist. The musical was written by Lionel Bart and premiered in London’s West End in 1960, becoming an instant hit thanks to songs such as “Consider Yourself”, “Food, Glorious Food” and “Where Is Love?”. It transferred to Broadway in 1963, earning widespread acclaim, winning three Tony awards, including Best Original Score. Since then, Oliver! has become a staple of school theatre, celebrated for its large cast, iconic roles, and blend of drama, charm, and catchy musical numbers. Whilst it traditionally follows the journey of a young boy navigating the harsh realities of Victorian London, Norgate’s vision compellingly re-centred the story on Nancy.
The show opened with a superb “Food, Glorious Food”, immediately immersing us in the stark workhouse world. Oliver, played with touching innocence by Phoebe, anchored the early scenes beautifully. The younger ensemble, first as workhouse children and later as Fagin’s gang, performed with energy and conviction. A special mention goes to Louisa as Nipper, whose unwavering commitment and vibrant stage presence continually drew focus; an exciting future lies ahead for her, I am sure.
In the capable hands of Catriona, Nancy was portrayed with remarkable nuance and emotional maturity, far beyond what one might typically expect in a school production. She brought a layered understanding to the character – balancing Nancy’s toughness with her innate warmth – allowing the audience to fully feel the conflict between her loyalty, fear, and deep compassion. Her vocal performances were consistently polished and assured, with a smooth tone that carried effortlessly across the theatre. Each song was delivered with a clear sense of intention and character, showing not only technical ability but a real confidence and command of the stage that lifted every scene she appeared in.
Daisy T’s charismatic Fagin, reminiscent of a delightful blend of Absolutely Fabulous’s Edina and a swaggering Jack Sparrow, brought charm, humour and warmth, keeping the audience firmly in the palm of her hand. Working in tandem, Daisy E’s Dodger oozed charisma, wit and cheek, and scenes between these two actors were particularly special.
For a compact performance space, the cast delivered with remarkable impact. The camaraderie of this large ensemble – spanning ages eleven to eighteen – was infectious. Choreographer Charlotte Hough’s influence was evident throughout, with tightly executed numbers such as “Consider Yourself” and “Oom-Pah-Pah: leaving the audience visibly beaming. The solo dance woven into “Where Is Love?” added emotional depth and was a particularly moving touch. Hettie’s Bill Sikes cast a dark shadow across these lively scenes. Her intense physicality and commanding presence powerfully conveyed Sikes’s menace.
The orchestra, neatly housed beneath the raised balcony, produced a rich, confident sound that elevated the entire performance. Bradbury’s orchestra provided depth without overpowering, allowing Norgate’s emphasis on character and community to flourish.
The second act heightened the tension, with Catriona’s rendition of “As Long as He Needs Me” capturing Nancy’s inner conflict with striking maturity. Staging her death, a notoriously challenging moment, was handled with sensitivity, clever blocking and sharp visual storytelling, delivering a moment that stunned the audience into stillness.
Oliver! felt as though it had been built around Nancy’s heart, her resilience, her sacrifice, and her refusal to abandon hope. Minimalistic staging kept the focus firmly on the performers, while the dual-cast approach showcased the breadth of talent across the school. What shone most was the collective dedication, with the cast and crew working seamlessly in a palpable spirit of unity.
Bringing the cast and even the stage crew together for the final bows underscored this theme of unity. It was a fitting close to a performance that celebrated courage, community and the transformative power of young people working together. A memorable production and a genuine honour to witness.
National School Theatre Awards
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