At the end of last season, Desert Theatricals warned audiences that, due to renovations at the Rancho Mirage Amphitheatre, they would have to skip the 2025 season. Then, somehow, the construction work got postponed, allowing this delightful theatre company to schedule two musicals before the jackhammers begin. The first, Oliver!, was mostly a delight—like visiting an old friend. At the outdoor amphitheater, the show was just as brisk as the weather.
Oliver! is based on Charles Dickens’ Oliver Twist, with book, music, and lyrics by Lionel Bart. Musical Director Joshua Carr explained to me that the 1960 musical’s score has been altered numerous times for various revivals, so he sought to unearth some of the earlier, purer orchestrations. As I listened, I fancied that I could distinguish the original elements from some of the so-called “improvements.” I first saw the show in the mid-60s, not long after its Broadway debut, and my memory is reinforced by the original cast recording.
The show begins with workhouse boys walking in formation to the food hall for their ration of gruel. The original version of “Food, Glorious Food” is light—boy-sized—though in a strict cadence. When Cameron Mackintosh, a producer famous for his louder-is-better credo, revamped the opening phrases as a strong, unmistakably military march, it made the boys seem more like grown men. Frankly, the change was neither better nor worse—just different, seemingly for the sake of change.
The boys receive their porridge from the parish beadle, Mr. Bumble (Robert Hoyt), and the Widow Corney (Julie Schwaben). In the original, they followed this with the flirtatious song “I Shall Scream,” which provided context for their eventual marriage in Act 2. In this production, the number was cut, leaving their later union unexplained.
After the boys finish their meager portions, one waif, Oliver (Sam Rekuc), dares to ask for more. His outrageous request prompts Mr. Bumble to remove him from the workhouse and sell him on the street. At this point, I glanced around nervously, wondering if a modern audience might call 911 to report child trafficking—but thankfully, we were safe.
A mortician, Mr. Sowerberry (Jason Mannino), and his wife (Joanne Mulrooney) purchase Oliver to work at the funeral home. Both actors make the most of their cameo roles, particularly Mannino. However, I was baffled by Mrs. Sowerberry’s blatant flirting with Mr. Bumble in front of her husband—especially since the romantic exchanges between Bumble and Corney had been cut. I finally shrugged it off and moved on.
The Sowerberrys’ maid (Charlotte Upp) and her boyfriend (Nevan Wegner-Owsley) add lighthearted fun as they chase Oliver around the mortuary before trapping him in a coffin. Oliver escapes and wanders the streets of London, where he meets a dapper but shabby teenager, the Artful Dodger (Xavier Brown). Dodger suggests that Oliver might have a place to stay and takes him to a hovel ruled by an impoverished, bearded man named Fagin (Doug Carfrae). Oliver is invited to join Fagin’s band of young pickpockets—again, try not to apply today’s moral standards. The Artful Dodger welcomes him with “Consider Yourself at Home,” joined by the other boys and, eventually, what seems like all of London.
Nancy (Michele Estrada), a former member of Fagin’s gang, appears with her friend Bet (Maisie Meneer). It’s unclear what she’s been doing since leaving the gang, but both women wear expensive, stylish, and spotless dresses. They participate in Oliver’s “training” as a gentleman in “I’d Do Anything.” Later, Nancy performs the rousing “Oom-Pah-Pah” at a pub, where we meet her boyfriend, Bill Sykes (Jeffrey Scott Adair), an undeniably bad dude.
Fagin trains his boys to be pickpockets (“You’ve Got to Pick a Pocket or Two”), and during one of Oliver’s attempts, he is caught by the police. A gentleman, Mr. Brownlow (Don Savage), witnesses the arrest and offers to take Oliver into his upscale home. Fagin’s gang and Sykes try to retrieve him, but that just brings more troubles.
The standout vocal performances of the evening came from Sam Rekuc’s Oliver (“Where is Love?”) and Michele Estrada’s Nancy (“As Long as He Needs Me”). Both numbers were showstoppers, met with enthusiastic applause. Xavier Brown’s Artful Dodger showcased his promising future as a song-and-dance man—his extensive ballet training grants him remarkable control over his movements, which he uses to great effect in his musical numbers. Doug Carfrae’s Fagin delivered his scenes and songs effectively, maintaining stage presence, though a touch more charm would have made him easier to love, even as a scoundrel.
Ray Limon’s direction and choreography were, as always, impressive. By having actors carry limited props on and off the stage, transitions were seamless. Once again, Limon managed to unify dancers of all skill levels, creating visually interesting formations without requiring technically difficult moves. A highlight was the workhouse boys’ sequence: after running wild, a few jumped onto tables while the others formed a perfect tableau. Then, a dozen boys clumped together center stage, moving their heads and bowls in unison—a particularly charming moment.
One of Desert Theatricals’ greatest luxuries is its live 12-piece orchestra, conducted by Mr. Carr. Though currently out of sight, I hear that the upcoming renovations will make them visible from the side of the stage—something to look forward to.
The Valley’s busiest techie, Nick Wass, served as both stage manager and projection designer, though the set design allowed only limited views of the projections. Gavan Wyricks’ lighting design, Ilana Elroi’s sound, Leslie Upp’s costumes and props, and Kat Scott’s wigs all worked together effectively to transport us to early 19th-century London.
Desert Theatricals’ productions run for just one weekend. General admission begins two hours before curtain, or tables near the front can be reserved, complete with a deluxe meal from Willie’s Modern Fare. Next up is Hairspray, running April 11–13.
photos courtesy of Desert Theatricals
Oliver!
Desert Theatricals
Rancho Mirage Amphitheater, 71560 San Jacinto Dr, in Rancho Mirage
Fri, Sat & Sun at 7:30 (gates open at 5:30); chairs are provided
ends on March 9, 2025
for tickets (general admission), visit Desert Theatricals
