“Twist” by Moot House Players – 13th March 2020.

By Ian Beckett

FOR obvious reasons, perhaps, people are choosing carefully where and when they spend time in close contact with others. It was delightful then to see an almost full house supporting the Moot House Players production of “Twist” last Friday. It was also heart-warming to see the diversity of the cast reflected in the diversity of the audience.

“Twist” was a new adaptation of the Dickens classic, by Eve-Marie Darby and Jack Downey, who also appeared as Nancy and Bill Sikes, although there were several occasions when it was clear that the adaptation was drawing more from Lionel Bart’s musical than from the great wordsmith.

Nevertheless, the Moot House Player poured energy and enthusiasm into the production, engaging with the audience from the get-go. Joan Lanario was an excellent scene-setter and maintained a sense of communal character throughout the production and it was quickly established that the main twist in this adaptation was that it was told from Nancy’s perspective.

The company worked valiantly to establish a music hall atmosphere, which should have been second nature for this troupe but is was disabled by bursts of contemporary music by Madness. The simple set was effective sepia contrasting with an eclectic mix of costumes, which lacked the Players usual attention to detail.

Helen Delliston (Bet) and Eve-Marie Darby (Nancy) sparked well off each other and they demonstrated far more command and stage presence than either Fagin or Sikes. Some stand out performances came from those with small roles including Eva-Maria Kennedy as the teenage bully Charlotte, Chris Millington’s convincing, robust and original Bumble and Melissa Jones’ Polly reminding us that “we all need a bosom to cry on”.

Eve-Marie Darby should be commended for her efforts to bring inclusiveness to the forefront in her casting and directing of “Twist” and nowhere was this in greater evidence than in the performance given by Henry Oakes as Oliver. The tweeness of a thousand caricatures was replaced with his mischievousness excitement and the use of Makaton was begging to be made more use of.

Overall, the Moot House Players should be congratulated for an enjoyable, fun evening, which though, theatrically, it lacked the Victorian darkness and menace that would have made it truly memorable, showcased some new blood, new ideas and new approaches that, in the fullness of time, will see the company continue to punch above its weight.

Ian Beckett