Charles Dickens' Oliver Twist, one of the most famous stories of all time and the first English novel with a child protagonist.
A riveting adaptation of Oliver Twist -- a gallows' view through the cynical eyes of Fagin -- will be staged in Shanghai, which confronts some of the same problems of poverty and crime faced by London in the 19th century, writes Michelle Zhang.
Charles Dickens' Oliver Twist, one of the most famous stories of all time and the first English novel with a child protagonist, has been adapted so often in films and musicals that almost everyone believes it's a sentimental tragedy.
But Director Paul Stebbing from the England's TNT Theater doesn't think so. His novel adaption of Oliver Twist has a peculiar opening. The dark work written in 1837 is presented through the eyes of pickpocket master Fagin as he stands on the gallows awaiting execution. He is there to justify his life of crime.
Now it's time the audience supplies the answers: Is Fagin a man who looks after abandoned "street children" or does he corrupt them by turning them into thieves? Does he care for his boy thieves or does he exploit them? Is he a monster or a new father?
And most important: Is he a criminal or a victim?
"I think Fagin is the central character," Stebbing says. "His life asks the central question of the story: What is the relation between poverty and crime?"
The problem of London is still repeated today in a modern metropolis like Shanghai. Children from poorer areas of the country coming to the big city are faced with the same set of problems that Twist himself faced. The issues must be debated and tackled.
Shanghai audiences will have a chance to ponder the problem and enjoy Oliver Twist from next Tuesday in English, with Chinese subtitles at the Shanghai Drama Arts Theater.
"I think Oliver Twist is the first novel in any language about poor people," says the English director. "The themes and social issues raised by Dickens are as relevant today as when it was first published more than 150 years ago. It explores the way society treats its weakest members."
The artistic director of TNT Theater says the theater tries to choose titles that the audience wants to see and then do original theater inside the familiar story -- as they did with Shakespeare's Macbeth, which they brought to Shanghai in 2005. The plot concentrates on the supernatural elements and, above all, on the witches instead of Macbeth and Lady Macbeth.
"Oliver Twist is so popular but at the same time we don't like the well-known versions -- they are not true to the book," he continues. "For example, Fagin gets away in all the famous versions -- why? You would not change 'Romeo and Juliet' so the lovers get away."
More interesting, the play has added comedic elements to highlight the dark play as it is known.
"Comedy is a great theatrical tool, laughing at evil is the best weapon," Stebbing explains. "Comedy draws an audience in and allows them to accept tragedy -- tragedy without comedy can be a blunt weapon -- an endless repetition of violence deadens our response. Shakespeare and Dickens know this and always mix the two."
The new version applies most of the comedy at the start to mock the cruel system that sends the poor and abandoned to the so-called "workhouse," and expose it as prison, rather than a caring place of shelter.
"Comedy forms a bond between actors and audience. Once that bond is established, it can be used to go on a more serious or darker journey," Stebbing adds.
The theater company's style aims to integrate all the performing arts. TNT's productions always include a specially commissioned score by a leading composer. The director always works with a choreographer and the ensemble actors are chosen for their ability to cross the disciplines of theater, music and dance. The Guardian once said called the company "one of the most interesting developments on the current theatrical scene."
In addition to its powerful drama, comedy and fast-moving action, Oliver Twist has been highly praised for its a capella score by the composer Thomas Johnson.
"We see theater and music as essential companions, just as they are in traditional Asian theater," says Johnson. "A capella can be very effective because the human voice is such a personal instrument -- it draws us closer to the actor than instrumental music might."
The play uses a wild variety of vocal music. Some is influenced by traditional English folk music, other pieces are more Jewish or Yiddish, reflecting Fagin.
The 95-minute play is brought to the stage by five actors, all recruited in London, all familiar with the environment of the story.
TNT's Oliver Twist has been seen from Tokyo to Berlin, from the south of Asia to the north of Scotland. It is being staged in Beijing through tomorrow.
"The play has received a warm welcome in Beijing. I hope we can repeat this in Shanghai and use that as a springboard for more work in China," says Stebbing.
(Shanghai Daily March 23, 2007)
