The Gateway Theatre, situated in Richmond B.C. is a beautiful venue to visit for a live show. Slightly smaller than the Stanley in Vancouver, this lovely theatre has hosted over 150 productions in it’s long running history in the heart of Richmond. A kind and welcoming front of house staff are always prepared with a smile and warm greeting which sets the tone for an enjoyable evening out at the theatre. With two bars and concession stands available, one up and one downstairs, the flow is consistent and rarely does one have to wait a while for their preshow, post show and/ or intermission refreshments.
Oliver! is an absolute classic. This Tony award winning musical has landed itself at the Gateway Theatre and it went off famously on opening night. I was lucky enough to be in attendance of this fantastic production. I was so amazed by the talent of the young actors. You would guess that they had been on stage for several years not the small few they’ve lived. Everything about this show worked so well and it was frankly one of the best productions of 2024 that I was fortunate enough to see.
The set is immaculate and so accessible for the actors. With the use of the turntable, it creates a dynamic flow about the stage giving the actors the freedom to transfer from one area to the next by simply crawling down a ladder or hopping over a banister. Every available spot within the set is utilized, including crawling on all fours beneath the structure. As mentioned, the turntable creates a smooth transference effect going from indoors to outdoors all within a swift few seconds.
Oliver (Rickie Wang) has one of the best voices I have ever heard. Flawless. He sounds angelic as every difficult note is hit powerfully and has a purity to it that lasts from start to finish as he holds long, strong notes. Wang is a phenomenal young actor with excellent charisma and marvellous stage presence. Even during the curtain call, you can tell that this young man is a true showman and will be going far in the industry. Not only can he sing with great distinction but he is a terrific young actor as well. His performance as the Dickensian street urchin is believable, heartfelt and truly feels genuine. Bravo!
Fagin (Anthony Santiago) is a marvellous character actor. From the moment he entered the show, he was immediately engaging, interesting and well portrayed. His speaking and singing voice are so rich and smooth, I could listen to him read the phonebook (the youth may not get that reference). Santiago’s challenge is to be a loveable con, which he is. His warmth towards his gang is apparent and quite endearing. Santiago is the lead vocalist in one of my favourite musical numbers, “You’ve Got to Pick a Pocket or Two” which he absolutely nails.
The entire ensemble and he work together so well on this deceptive, head bobbing, bass-enthused number. A large applause was retrieved after this phenomenal smash. The Artful Dodger (Lucas Gregory) moves about the stage so beautifully and carries a wonderful tune. He is quite convincing as the skilled pickpocket. His performance is quite strong though I wouldn’t say memorable. Certainly, well portrayed and well-costumed. Gregory is a skilled dancer and talent on the stage, but I would like to see more from his performance as such a memorable and iconic character.
Nancy (Miranda MacDougall) delivers an absolute knock out performance. Though her accent at times is not believable and
forced, her performance as a vocalist is stunning. Her number “As Long as He Needs Me” is incredible. It took my breath away how powerfully she performed this number and in the reprise. MacDougall truly dropped some jaws in the audience when those final notes came. Bravo!
Sykes (Tanner Zerr) has a powerful voice but is difficult to understand at times. His big number, “My Name” I could barely understand what he was saying other than when he was saying his name, “Sykes” so I feel the audience misses out on a lot of his character as a result. He however is a fine stunt actor and makes his physical scenes believable and yet still theatrical. He certainly has a strong stage presence and is a gifted performer. I got quite a good laugh with his physical comedy as Mr. Sowerberry.
Mr. Bumble (Victor Hunter) provides a sense of comedic relief along side Widow Corney (Cecilly Day). Though I found it quite unexpected for these two to play the characters as comically as they did, it certainly worked and worked well. Hunter has a powerful and commanding baritone which borders on a bass as Day has a beautiful mezzo soprano which hits the theatre walls with strength and lovely energy. These two work so well together, its as if they have been performance partners for years. Also, Hunter has by far the best costume in the show.
Daniel Curalli, one of my favourite performers to see on stage makes several appearances in cameo characters such as Noah Claypole and Mr. Brownlow. Curalli, who serves as the show’s fight captain as well, delivers a grounded and genuine performance. His finely-paced, methodical way of delivering the lines emphasizes his fine speaking voice and truth within his character. The fight sequences are well done, though could appear more realistic and less comical and “over the top” at times, for the most part, the fighting sequences are well designed and executed.
There are certainly moments within this show that call for comedic stage fights. The number “Who Will Buy” was fantastically done. This is one of those numbers where the actors are singing of their separate stories but must be distinct and heard over top the harmonizing voices. It doesn’t feel like a singing competition but a harmony in time. A beautiful and complex scene that was so well done as was the reprisal.
The lighting design is not overly complicated but certainly hits every important accent which exemplifies the complicated set design. Though it appears simplistic, the accesses and galleys are immense and well placed. It creates an accessibility for the actors and the audience to enjoy several different settings all within one singular structure on a turntable. The set design I feel paid a slight homage to the Jack Napier design of Cameron Mackintosh’s Les Misérables.
Donnie Tejani is the costume designer and has done a brilliant job with this period piece. Every ounce of clothing was immaculate and perfectly placed on each character. You can tell that they have truly enveloped themselves in the characters and found their identity within their costumes. Brilliant to see and certainly not an easy task with these historic pieces.
Nicol Spinola choreographs this large production with several ensemble members and has found a way to execute large, capturing movements while all the space is used and swiftly transfers from one movement to the next. The ensemble of children and adults working in tandem is a work of art. This entire cast seems to be copasetic; it creates a wonderful environment for the audience.
The band is dynamic and right where the sounds need to be. From boisterous and smooth scene changes to finely executed numbers, this is a wonderful band of musicians who have clearly studied the music immensely. The band leader (Sean Bayntun), our performer on the reeds (Kevin Woo), the trumpeter (Geeta Das), French horn (Malcolm Francis), bass (John Bews) and drums (Sam MacKinnon) they are terrific. All are members of the Vancouver’s Musician Association.
“Oliver!” is an award-winning Broadway musical with lyrics, music and book written by Lionel Bart and based on the classic Charles Dickens novel “Oliver Twist.” The Gateway Theatre’s production of “Oliver!” is one of the best shows I have seen in 2024. I strongly recommend going to see “Oliver!” at the Gateway Theatre running until January 4th , 2025. Tickets
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