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OLIVER

SCENE 1 – THE WORKHOUSE

BACKDROP: WORKHOUSE/GOD IS LOVE

PROPS: TWO ROWS OF TABLES/20 CHAIRS/BOWLS AND SPOONS

LARGE VESSEL AND LADLE

THREE TO FOUR STRAWS

STICK FOR MR. BUMBLE

NARRATOR: Bringing Charles Dickens’ beloved novel to life, Lionel Bart’s OLIVER! takes
audiences on a wild adventure through Victorian England. Join young, orphaned OLIVER
Twist as he navigates London’s underworld of theft and violence, searching for a home, a
family, and – most importantly – love. When Oliver is picked up on the street by a boy
named the Artful Dodger, he is welcomed into a gang of child pickpockets led by the
conniving, but charismatic, Fagin. When OLIVER is falsely accused of a theft he did not
commit, he is rescued by a kind and wealthy gentleman, to the dismay of Fagin’s violent
sidekick, Bill Sykes. Caught in the middle is the warm-hearted Nancy, who is trapped under
Bill’s thumb, but desperate to help OLIVER, with tragic results. With spirited, timeless
songs like ‘Food, Glorious Food’ and Where is love, OLIVER! is a musical classic.

MCTM International brings to you the story OLIVER TWIST by the famous writer
Charles Dickens, an adaptation from the movie OLIVER!

NARRATOR 2: Our tale begins in Victorian England, a time of great Imperial wealth,
hiding much poverty for ordinary people. Nine years ago, one such unfortunate girl found
herself alone and unable to care for the baby she was soon to have. She threw herself on
the mercy of the workhouse but, sadly died without knowing her son. Her only worldly
possession was a golden brooch, quickly spirited away by the workhouse dame. The baby
was given the name OLIVER Twist by the parish beadle in charge of the workhouse - one
Mr BUMBLE…..

SONG 1 FOOD GLORIOUS FOOD

[Song ends and boys wait with bowls up ready to eat, whilst looking at MR BUMBLE.]
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OLIVER: Please, sir, I want some more.

BUMBLE: What?
OLIVER: Please, sir...I want some more?

OLIVER: More?

- Catch him!
- Snatch him!
- Hold him!
- Scold him!
- Pounce him, trounce him
- Pick him up and bounce him
Wait!
Before we take the lad to task
May I be so curious
As to ask his name
Widow Corney: OLIVER Twist, Mr. BUMBLE. You named him so yourself.
Mr. BUMBLE: So that's who he is.

SONG 2 OLIVER

BUMBLE: What shall we do with him? He’s too much trouble.

COOK: Sell him Mr BUMBLE. He’s too greedy for us ‘ere.

BUMBLE: Indeed we shall. Come boy. A trade for you – chimney sweep will do.

[Dragging OLIVER crying down centre of hall, to turn back to centre stage .]

SCENE TWO - LONDON STREET

BACKDROP: THE UNDERTAKER

PROP: TABLES/CHAIR/POSTER OF CHARIOT

COFFIN AND LID

SONG 3: ONE BOY, BOY FOR SALE

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[Enter from right MR and MRS SOWERBERRY and NOAH CLAYPOLE – a pall bearer for
the funeral parlour.]

MR SOWERBERRY: Good day to you, Mr. BUMBLE. What have you there?

MR BUMBLE: A boy, Mr SOWERBERRY, a fine and courteous boy, ( pushing OLIVER

forward) Do you know anybody who wants a boy? He’s only five guineas, that’s very cheap.

MR SOWERBERRY: How much did you say?

BUMBLE: Only three guineas, Mr. SOWERBERRY.A bargain if ever there was one.

SOWERBERRY: I was looking for a boy. Bring him in, Mr. BUMBLE. Bring him in.

SOWERBERRY: My love...I said we might consider taking this boy to help in the shop.

Mrs. SOWERBERRY: Dear me! He's very small.

BUMBLE: He is small, there's no denying. But he'll grow, Mrs. SOWERBERRY.

Mrs. SOWERBERRY: I dare say he will...on our vitals and drink. These workhouse boys
always cost more than they're worth. Where did he come from?

BUMBLE: Mother came to us destitute. She brings a child into the world, takes one look at
him and promptly dies...without leaving a forwarding name and address. So he's yours for
three guineas as agreed, cash on delivery.

SOWERBERRY No, no, Mr. BUMBLE. Cash upon liking. A week on approval. If we get
enough work out of him...without putting too much food into him, then we'll keep him.

Mrs. SOWERBERRY He can help NOAH Claypole put the shutters up. Do you hear,
NOAH? Then he can clean the stables, fill the lamps and sweep the yard.

NOAH: I'll look after him.

SOWERBERRY: It occurred to me that he'd make a delightful coffin follower. That

expression of melancholy. It's very interesting, don't you think so, my love?

BUMBLE: A mute in proportion, so to speak.

SOWERBERRY: Precisely. Superb effect, Don't you think so, my love?

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Mrs. SOWERBERRY: You think you could look like that gentleman up there?

OLIVER: Perhaps, if I had a tall hat.

SCENE 3 – THE UNDERTAKERS

PROP: COFFIN BOX/WREATH/TABLES/CHAIRS

NARRATOR: OLIVER spent an unhappy month with Mr. and Mrs. SOWERBERRY. He made
a wonderful undertakers mute, often passing the orphanage when he once lived. However,
all was not well at the SOWERBERRY’s, he was teased and goaded by NOAH Claypole, Mr.
SOWERBERRY’s pall bearer.

[NOAH and OLIVER are tidying the coffins.]

NOAH: How's your mother, workhouse?

OLIVER: You leave my mother out of it. She's dead.
NOAH: What'd she die of? Shortage of breath?
OLIVER: You better not say anything about her to me.
NOAH: Don't you be cheeky, workhouse. Your mother! She was NO nice one - A regular

bad one she was.

OLIVER: - What did you say?
NOAH: It's good she died when she did 'cause she'd been in prison doing hard labor.
MRS SOWERBERRY: You murderous little wretch! What are you doing? What's going on?
What are you trying to do, wake up the dead or something? Lord have mercy!

OLIVER: He started.

Mrs. SOWERBERRY: The lid, quick! Put the lid on! Oh, dear. 'm going off. Water!
NOAH, go to the workhouse. Get Mr. BUMBLE. Tell him to come quick.

BUMBLE: Well, where is he? Where is the young rascal?

BUMBLE- OLIVER?
OLIVER- Yes, I'm here.
BUMBLE: Do you know this voice, OLIVER?
OLIVER: Yes, I do!
BUMBLE: Ain't you afraid of it? Ain't you a-trembling when I speak?
OLIVER: No, I'm not!
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Mrs. SOWERBERRY He's gone mad or he wouldn't dare to speak to you like that.
BUMBLE: It's not madness ma’am, it's meat!
Mrs. SOWERBERRY: Meat?
BUMBLE: Meat, ma'am, meat. You've overfed the boy. You've raised an artificial spirit in

him unbecoming to his station in life. This would never have happened if you'd kept him

on gruel. I'll be glad to give you the recipe.

SOWERBERRY: Well, having a rest, Mr. BUMBLE?
NOAH: He's sitting on OLIVER.
SOWERBERRY: Right. We must all sit on OLIVER.
Mrs. S: You been drinking again?
SOWERBERRY: I met a friend in the cemetery.
OLIVER: Help!
SOWERBERRY: Who's in there? That coffin should not have been occupied until

Tomorrow. It's reserved for a very important client.

BUMBLE: Stand back. What's your explanation, you scalawag?
OLIVER: He called my mother names!
Mrs. SOWERBERRY: What if he did, you ungrateful wretch? She deserved what he said

and worse.
OLIVER: She didn't. It's a lie!
BUMBLE: Hold your tongue!
Noah: Put him in the cellar, Mr. BUMBLE. That'll teach him.
[MR SOWERBERRY lies down in coffin]
SOWERBERRY: It's really quite comfortable.
Mrs. SOWERBERRY: Three pounds, indeed! You can take him back.

[MR SOWERBERRY drags OLIVER off stage and out of the hall. MR BUMBLE, MRS
SOWERBERRY and CLAYPOLE shake their heads and leave .]

[OLIVER wonders slowly back into the hall, rubbing his eyes .]

SCENE 4
SETTING: DARK ROOM

Narration: So Oliver ends up in the cellar of the coffin maker Mr. Sowerberry.

SONG 4 WHERE IS LOVE.

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[As music ends, OLIVER goes left and sees a possibility of escape .]

OLIVER: (rubbing his eyes) Oh a way out!

[Smiling to himself he runs out of the hall.]

SCENE 5 – LONDON STREET

SETTING: MARKET SCENE

PROPS: VENDORS’ BASKETS

SILAMBAM STICKS (6) FOR POLICEMEN

COOKIE FOR DODGER

TRAIN SOUND – TRAIN GOING

NARRATOR: OLIVER managed to escape from Mr SOWERBERRY’s awful employment. He

walked for many, days and nights. After hiding in a food cart, he hitched a ride to London
town.

[Scene opens on a busy London street. Children walk up and down centre and sides of hall,
calling out wares. OLIVER is soon approached by a small, thin boy of thirteen .]

ARTFUL DODGER: What you starin' at? Haven't you never seen a toff?
OLIVER: No, never. I'm sorry, I didn't...
ARTFUL DODGER: That's all right. Hungry?
OLIVER: Yes, I am. I've come a long way. I've been walking for seven days.
DODGER: Been running away from the beak?

OLIVER: The what?

DODGER: Don't say you don't know what the beak is, flash mate.

OLIVER: It's a bird's mouth, isn't it?

DODGER: My eyes! How green can you get? For your information, a beak's a magistrate.

Who you running away from then? Your old man?

OLIVER: No. I'm an orphan. I've come to London to make my fortune.

DODGER: Oh! You have, have you? Got any lodgings? Money?
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OLIVER: Not a farthing.

DODGER: Do you live in London?
OLIVER: No!
DODGER: I suppose you want someplace to sleep tonight, eh?
OLIVER: Do you know of anywhere?
DODGER: As it so happens, I know a respectable old gentleman. He'll give you lodgings for

nothing.
OLIVER: Really?
DODGER: And will never ask for change if any other gentleman he knows introduces you.
OLIVER: He must be a very kind old gentleman.
DODGER: Oh, yes, he's very kind. And I'm a particular favorite of his. Well, if you're

coming along, I better know who you are.

OLIVER: My name is Oliver. Oliver Twist.
DODGER: Mine's Jack Dawkins...better known among me more intimate friends as the

Artful Dodger. Pleased to meet you.

OLIVER: You sure the old gentleman won't mind?
DODGER: Mind?
SONG 5: CONSIDER YOURSELF

WEDDING PARTY

VEGETABLE VENDORS

PRIESTS

POLICEMEN

SCENE 6 – FAGIN’S DEN

BACKDROP: GRANDFATHER’S CLOCK

PROP: PLATE OF SAUSAGES AND FORK

TIME PIECE FOR FAGIN

SCARVES IN STAND

WALKING STICK FOR FAGIN

FIVE CHAIRS
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BEAN BAG

WALLET AND BOX WITH SCARVES AND GLOVES FOR DODGER

NARRATOR: OLIVER and Jack made their way through the grime and stench of London’s
back streets. They arrived at a tumbling ruin which was home to many children and an
elderly crook known as Fagin.

[The boys all busy themselves with glittering items and large handkerchiefs .]

JACK: Fagin, I’ve brought you a new ‘friend’. (pushing OLIVER forward). This is OLIVER
Twist.

[FAGIN has his back to audience and, turns. He is cooking sausages and brandishes a long
fork.]

OLIVER: (bowing low) Sir.

FAGIN: (amazed and amused, extends hand) Wonderful to meet you, OLIVER, my dear.
Very pleased to make your acquaintance?

OLIVER: (bowing low, again) I am delighted to meet you. Thank you for inviting me to your
home.

[JACK chuckles and the other boys draw near, fingering OLIVER’S coat. They grab
OLIVER’S bundle and begin pulling out the contents. OLIVER is distressed.]

FAGIN: Ger ‘off ‘is things! (dragging back the bundle). Dodger, take off the sausages. Let
young OLIVER sit near the fire.

[BOYS scuttle away]

FAGIN: Dodger ‘ere says you have come to London to seek your fortune. Is that right?

FAGIN: Well we shall all ‘ave to help you.

JACK: ‘Course Fagin. Got a present for you. (handing over a wallet)

FAGIN: Lined?

JACK: Only the best! Lovely workmanship ‘aint it?

[FAGIN takes the wallet and examines it carefully.]

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[OLIVER notices a long line of pegged handkerchiefs .]

FAGIN: Ah, you notice the pocket handkerchief, my dear. We’ve got them ready for a
wash. Ha, ha, ha! (all join in)

OLIVER: Is this a laundry then, Sir?

FAGIN: Not exactly my boy. I suppose a laundry would be a very nice thing, indeed! But our
line of business pays a little better. Don’t it boys? You see, Oliver…

SONG 6 YOU’VE GOT TO PICK A POCKET OR TWO

[The BOYS jangle all the items taken from FAGIN’S coat, in front of an amazed OLIVER.
The music continues playing and all the boys sit on stage. FAGIN stuffs his pocket with a
handkerchief.]

FAGIN: Now you, OLIVER.

[OLIVER follows FAGIN and eventually drags a string of handkerchiefs from his coat,
then falls over.]

FAGIN: Has it gone OLIVER?

OLIVER: (rubbing his bottom) Oh yes, Mr Fagin, sir. Look!

FAGIN: Splendid OLIVER, splendid. What a bright boy you are, my dear. ( to Jack) He’s
ready, Dodger.

[OLIVER yawns widely and rubs his eyes.]

FAGIN: Tomorrow you shall begin your trade, OLIVER. But for tonight, Dodger will find
you a bed.

[OLIVER moves stage left and he and all the boys settle down for the night .]

NARRATOR: The boys slept, dreaming of the wheeling and dealing of the day. That night,
and each night, Fagin would slip away to visit a nearby tavern, for it was here that he
received the spoils of a master house breaker… one Bill Sykes. Sykes was a mean and
menacing crook; dangerous to know and evil to cross. Sykes began his career as one of
Fagin’s urchin gang, quickly graduating to vicious theft…. and worse!
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[FAGIN MEETS SYKES WHO GIVES HIM VALUABLES]

SCENE 7
Narration: Bill Sykes meets Nancy at a tavern and lures her to become a part of their
gang.

Song 7: Can’t help falling in line with you

SCENE 8
SOUND EFFECTS: COCK CROWS /LOUD KNOCKING

PROP: TWO BASKETS/FOUR CHECKED UMBRELLAS/

FAGIN/TIME PIECE AND A FEW COINS

[Cock crow off stage. Loud knocking off stage right, NANCY and BETH enter .]

Narration: The NEXT MORNING

NANCY: ‘Allo you slug-a-beds. Let’s be ‘avin’ yer.

[BOYS yawn stretch and instantly buck up, when they see NANCY and BETH carrying
baskets.]

NANCY: Come on ‘en. Who wants a bull’s eye (handing sweets from basket)

[OLIVER steps forward.]

NANCY: Who’s this then?

JACK: (in an exaggerated posh voice) ‘Morning my dear ladies. May I ‘ave the pleasure of
presenting to you, our new lodger.

FAGIN: He’s OLIVER Twist Esquire, a proper gent.

NANCY: (smiling) Don’t let ‘em tease you OLIVER. Just ‘cos you got manners and they ain’t.

JACK: Wot you mean? I can be a proper gent. Permit me to assist you across the road.

NANCY:Well I was only going to the palace actually. Hire me a cab

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JACK: Allow me to escort you in my own carriage!

SONG 8 I’D DO ANYTHING

NANCY: Well that’s done me a power ‘o good (smoothing her skirts and picking up her
basket)

FAGIN: So that’s enough o’ that! (to NANCY and BETH) Good day my dears (turning to
boys) and you lot! It’s time you was at work! Time is money y’ know!

NANCY: Not so fast Fagin! You know why I’m ‘ere – it’s for my Bill’s money. Now cough up
or you’ll be coughing if he find’s out!

FAGIN: (grudgingly) Very well

[FAGIN goes to his hidden box and reluctantly counts out coins .]

NANCY: All of it…..

FAGIN: Do you know, my dear, how very difficult it is to deal with the donations from rich
‘omes? And it can be very, very dangerous………

NANCY: And Bill will be very dangerous if you don’t ‘and over what he’s due!

[FAGIN hands over coins which NANCY pockets .]

BETH: C’ mon, we’ve got work to do. We can’t stay here all day no matter ‘ow good yer all
are.

NANCY: Cheerio, my ducks, ‘ave a luvely day.

[BOYS run to see NANCY and BETH exit from hall ]

FAGIN: C’ mon you boys we ain’t got all day, the birds are singing and we need to look
chirpy, too. (seeing OLIVER looking at him).’aint that right, Dodger?

OLIVER: Please Mr Fagin, sir. May I begin work today?

FAGIN: Oh no, my dear. I don’t ….

JACK: Y’ know, Fagin, I don’t mind teachin’ ‘im.

FAGIN: Y’ reckon?
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OLIVER: Please, Mr Fagin!

FAGIN: Oh, very well. But be careful and be back soon!

SCENE 9– LONDON STREET

BACKGROUND: SHOP WINDOWS

PROP: PURSE FOR BROWNLOW

NARRATOR: The streets of Old London Town offered ample opportunity for pickpockets
and especially a new recruit, like OLIVER. After a few foiled attempts, they see a
venerable gentleman, one Mr Brownlow, engrossed in a purchase.

[JACK and BOY 1 tiptoe behind MR BROWNLOW and after several attempts, managed to
lift his pocket flap. OLIVER stands behind, staring at the act.]

MR BROWNLOW: (turning sharply) What! Hey!

[JACK and BOY1 look shocked and run in opposite direction to the back of the hall.
OLIVER is left staring at MR BROWNLOW.]

MR BROWNLOW: (kindly voiced and holding out his hand) Come on boy, hand it over.

[OLIVER stands speechless and trembling.]

MR BROWNLOW: (holding out his hand) Come boy, hand it back. I know you have it.

[OLIVER runs headlong to the rear of the hall.]

MR BROWNLOW: Stop thief! He has my wallet!

[A POLICEMAN from the side of stage, gives chase and catches OLIVER, who struggles.]

OLIVER: It wasn’t me. I didn’t do it.

MR BROWNLOW: Don’t hurt the boy

POLICEMAN: It’s the magistrates for you my lad.

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SCENE 10 – MAGISTRATE’S COURT

BACKDROP: JUSTICE IS MERCY

PROP: GAVEL

SETTING: COURT SCENE – TABLE/CHAIR/OLIVER’S STAND

On stage is the MAGISTRATE, POLICEMAN, MR BROWNLOW AND OLIVER.]

NARRATOR: OLIVER had the misfortune to stand before Mr Fang, the most miserable
magistrate of the town. Pickpockets were an unfortunate pestilence of London. They were
dealt with severely, with hard labour, cruelty and the consequences!

MR BROWNLOW: (to MAGISTRATE) Could the boy be innocent? There is something in

that face………..something I have seen somewhere before. No, no. I cannot recall.

MAGISTRATE: (looking up from his file full of papers ) Who are you?

MR BROWNLOW: I am Mr Brownlow.

MAGISTRATE: (to policeman) What’s the fellow charged with?

POLICEMAN: (trying not to laugh) He’s not charged at all. He appears against the boy,
your worship.

MAGISTRATE: Boy, what boy? (seeing OLIVER) Oh, I see. Mmmm. What’s the boy done?

POLICEMAN: Well, your worship, he’s been charges with pocket picking, of good Mr
Brownlow, here. (looking at OLIVER, swaying slightly) The boy looks ill!

MAGISTRATE: Nonsense!

[OLIVER faints and falls.]

MR BROWNLOW: (bending over OLIVER) Poor boy, poor boy. Fetch a coach, I’ll not press
charges.

SCENE 11 – OUTSIDE MAGISTRATE’S COURT

FAGIN: Where is OLIVER?

JACK: The old man’s got ‘im. Taken ‘im ‘ome with ‘im.
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SYKES: (snarling) That’s careless, very careless.

FAGIN: It’s worse than careless, Bill. Have you thought what might ‘appen if he croaks
what he was doin’. He could lead the Old Bill, ‘ere.

SYKES: Well that will be nasty for you, you miserable old beggar.

FAGIN: But just think, Bill. If he leads ‘em to us, then it is one step nearer to you …………

SYKES: Well we need ‘im back ‘ere, then. Go and get ‘im, now!

FAGIN: Oh not me my dear, this needs a gentle touch, a woman’s touch ( glancing at Nancy)
Someone he trusts.

[NANCY, shakes her head]

SYKES: You’ll get hold of the boy, won’t you, Nancy?

NANCY: No, no. Leave the boy alone. He’s got a chance of a real life, better then this ‘ere.

SYKES: She’ll go, Fagin.

NANCY: No, she won’t, Fagin.

SYKES: (threatening Nancy) Yes she will, Fagin. She’ll go, or she’ll end up black and blue.

FAGIN: (gently) Go. Be nice to him and bring ‘im back.

NANCY: (loudly) No, no.

SYKES: (raising his hand to Nancy and pushing her to stage right ) You’ll go now, my girl if
you know what’s good for you!

NANCY: (crying) Very well.

[NANCY runs off stage and out of hall.]

SCENE 12 – OUTSIDE MR BROWNLOW’S HOUSE

SETTING: STREET SCENE

PROP: THREE BASKETS OF ROSES FOR ROSE VENDORS/6 NEWSPAPERS

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[OLIVER has been lying on stage. Gets up, yawns and stretches. Goes to window, left.]

OLIVER: Oh my. I thought it was a dream, but I am truly lucky to be here with kind Mr
Brownlow. (smiling and gazing all around) What a wonderful day.

[VARIOUS STREET SELLERS begin to call their wares and wonder from back, centre back
and sides of hall.]

ROSE SELLER 1: Who will buy my sweet red roses, two blooms for a penny? REPEAT

SONG 9 WHO WILL BUY?

[JACK and BILL walk down from back of hall and stand at side by hall door and are joined
by NANCY. All stand still, watching scene.]

SCENE 13: BROWNLOW’S HOUSE

BACKDROP: OLIVER’S MOTHER’S PORTRAIT

PROP: TABLES/CHAIRS/BOOKS/VASES/FIVE POUND NOTE FOR BROWNLOW

NARRATOR: Life had changed for OLIVER. Kind Mr Brownlow had taken OLIVER for his
own. The friendless orphan would never be friendless again, as long as he lived. Mr
Brownlow was sure OLIVER was destined to be part of his family, perhaps because he
reminded him of his dear, but dead, neice. His close friend, Mr WINSTON was less than
convinced by the orphan child. He thought his friend was hoodwinked and deceived.

[MR BROWNLOW and his friend MR WINSTON sit centre stage. A small pile of books,
next to Mr Brownlow.]

MR WINSTON: You cannot trust these boys

MR BROWNLOW: I can trust this one with my life.

MR WINSTON: Bah! He’s an orphan. All boys bought up in the workhouse are scoundrels.

MR WINSTON: You’ve been hoodwinked, taken in, my friend.

MR BROWNLOW: (angry) Then we shall test OLIVER. (gathers up pile of books from the
table) Here OLIVER, take these to the bookstall for me and pay with this £5 note.
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OLIVER: (eagerly) Certainly, sir. I shall not be long for I know just the stall you mean.

[OLIVER leaves with the books and walks around the hall which will eventually lead to
JACK, NANCY AND SYKES.]

MR WINSTON: Now Brownlow, my old friend, you won’t see that boy again! A new suit of
clothes, valuable books and a five pound note in his pocket. You expect him to come back?

MR BROWNLOW: Don't you?

MR WINSTON: If he does, I'll eat my head with my hat on it.

MR BROWNLOW: Look at that portrait. Do you see a likeness to the lad?

-
- MR WINSTON: That's your niece, isn't it?

MR BROWNLOW: That's what I mean.

- MR WINSTON Wasn't she the girl who...

-
- MR BROWNLOW: Who ran away.
-
MR WINSTON A young, innocent face. Nothing more. A mere coincidence.

MR BROWNLOW I'm not so sure. Born in a workhouse at Dunstable,he thinks.That's all

he can tell us. Very well. I shall write to his orphanage with that very question.

OLIVER: (On the road) (singing) Who will buy my wonderful roses….(Sees the vendor)
Goodmorning!

ROSE VENDOR: Goodmorning

[MR BROWNLOW and MR WINSTON leave the stage. OLIVER walks past NANCY and
she grabs him with her shawl over his head. JACK, SYKES, NANCY and OLIVER make
towards centre stage. Meanwhile, FAGIN and boys gather on stage. BILL removes the
shawl from OLIVER’S head.]

SCENE 14 – FAGIN’S DEN

BACKGROP: FAGIN’S DEN
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PROPS: BOOKS

OLIVER: (tearfully) Mr Brownlow will think I stole the books. You have kidnapped me.

FAGIN: But OLIVER my dear, this is your ‘ome, these are your friends and family.

OLIVER: I have to get back, I don’t want to live here with you, you’re a thief!

NANCY: You’ve done wrong kidnapping the boy, Fagin.

[OLIVER tries to escape]

SYKES: (snarling) Back ‘ere. We’ll have to knock sense into ‘im.

NANCY: (pleading) No, you’ve got OLIVER, what more do you want?

JACK: (pleading) Don’t hit ‘im Bill. I’ll teach him to steal wipes.

SYKES: (thinking) I want a boy………a small thin boy.(staring hard and into OLIVER’s face)
…..for my house breaking job. (points to OLIVER) He’ll do…..but train him first, (wielding
club again) and if he does wrong…. I’ll bash some sense into ‘im.

FAGIN: Leave the boy, Bill. He’s no good ‘o this trade. He’s had no practice……..leave ‘im.

SYKES: (roughly) I ain’t leaving ‘im. The trouble he’s put us through. He’s goin’ to earn ‘is
place, tonight! Nancy, meet me at 11 in the tavern an’ you, Fagin. ( dragging OLIVER) C’mon
you.

[SYKES drags OLIVER out of the hall. NANCY gasps, stares at FAGIN and runs from the
hall.]

FAGIN: No good can come of this! No good at all (shouts at boys) Get to bed all of you!

SCENE 15 – MR BROWNLOW’S HOUSE

SETTING: HOUSE/ TABLE AND TWO CHAIRS/TABLE CLOTH/VASE/

PROP: BROOCH

NARRATOR: All did not look well for those in the sway of Bill Sykes and his ugly temper.
Nancy knew she had to do something - to find a way of returning OLIVER to where he
rightly belonged, with Mr Brownlow. Meanwhile, Mr Brownlow had found that OLIVER was
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more than an engaging orphan who deserved a better life – he was his great nephew. The
link he had felt was missing had been put into place by a visit from MR and MRS BUMBLE.

[On stage sit MR and MRS BUMBLE and MR BROWNLOW.]

MR BROWNLOW: (to himself while fingering the brooch) I knew it all along. I knew
OLIVER was her boy.

MR BUMBLE: So you see, Mr Brownlow we knew you would be very glad to see us, after
receiving your letter.

MR BROWNLOW: (angrily) Glad to see you. I would have been glad to see you nine years
ago.(holding out the brooch) You've kept this all these years?

- MRS BUMBLE: Why should I not?

MR BROWNLOW Did it not occur to you that this might provide the answer...to the boy's
parentage, his identity, his very name?

MR. BUMBLE: But he had no name.

MR BROWNLOW: It was your duty to show this evidence to some higher authority. Your
behavior Madam was shameful!

MRS BUMBLE: How dare you speak to me so! I only came here to help you.

MR BROWNLOW: You came here to profit from your own greed and dishonesty.

MR. BUMBLE: If you think the locket don't properly belong to my wife...

- MRS BUMBLE: Be quiet, you old fool!

MR BROWNLOW: You …Your reward. Think yourself lucky you're not in the
hands of the law.

MRS BUMBLE: There's gratitude for you.

MR. BUMBLE: I hope this unfortunate circumstance won't deprive me of my parochial

office.

MR BROWNLOW: My hope, sir, is that it will.

 19

MR. BUMBLE: But it was all Mrs. BUMBLE.I knew nothing of it until yesterday.

MR BROWNLOW: That's no excuse. In the eyes of the law you are the more guilty of the
two...Now get out!

[MR and MRS BUMBLE make their way indignantly exit. NANCY makes her way onto the
stage with her head covered.]

MR BROWNLOW: Go! (seeing NANCY) Oh. Who are you?

NANCY: I can’t tell you that, but I ‘ave news for you.

[NANCY and MR BROWNLOW mime the conversation about OLIVER and Sykes.]

NARRATOR: Mr Brownlow listened with anguish, of the event which had befallen OLIVER
at the hands of Fagin, Nancy and worst of all, Bill Sykes! Regretfully, Mr Brownlow had to
trust Nancy, if he was ever to see his beloved OLIVER, again. He agreed to meet Nancy on
London Bridge at midnight and she would bring the boy to him.

[NANCY flees and exits. MR BROWNLOW puts his head in his hands.

SCENE 16 – OUTSIDE A LARGE HOUSE

SOUND EFFECT: CRASH

PROP: WINDOWS

[ENTER SYKES dragging OLIVER on stage. OLIVER is anxious and shaking. Pushing
OLIVER over left of stage.]

SYKES: Go on OLIVER, get in an’ open the door.

[OLIVER slips off stage.]

SYKES: (glancing nervously around and behind him). C’mon, boy get goin’.
 20

[Suddenly, loud crash off stage and SYKES drags OLIVER back on stage. OLIVER
scrambles forward and whimpers. There are shouts of ‘STOP THIEF’ off stage .]

SYKES: (angrily dragging OLIVER across stage and towards hall door ) C’mon you miserable
wretch…………. now we’re for it.

[During the NARRATOR’S speech, THE TAVERN scene assembles. SYKES pushes OLIVER
into a corner and sits on lower step with FAGIN. NANCY and the other TAVERNERS
stand on stage.]

SCENE 17 – THE TAVERN

SETTING: DARK

NARRATOR: Sykes dragged OLIVER back to the tavern where Fagin and Nancy waited.
With no spoils from the house breaking and the chance of the police looking for him, Sykes
was an angry and dangerous man. Nancy knew she had to find a way to take OLIVER to
where Mr Brownlow would be waiting. She had to find a way. [ NANCY pulls OLIVER to his
feet and runs down centre of hall. SYKES gets to his feet and angrily sees NANCY make
her way round the back and exit.]

SYKES: (very angry and shaking his fist) Nancy! Bring ‘im ‘ere! (runs out of hall)

FAGIN: (upset and shouting) Oh my! Oh my! (runs out of hall)

[MR BROWNLOW stands centre stage, slowly pacing back and fore. NANCY and OLIVER
go round the back of hall and down centre, almost to the front. SYKES closely follows to
stand right of stage.]

NANCY: There. OLIVER. Go on, go on! (pushing him forward)

[OLIVER steps forward. SYKES runs forward, grabs OLIVER and NANCY and struggles up
centre of hall. Remain there. MR BROWNLOW hears the noise. From back of hall .]

NANCY: Help! Help!................. Run OLIVER!

[OLIVER runs off stage and exits. SYKES and NANCY stay at back of hall .]

MR BROWNLOW: (runs off stage) Help! Help! Police!

 21

NARRATOR: Sykes struggled to hold both Nancy and OLIVER. Nancy fought for her life
against him, while OLIVER escaped into the dark and dangerous alleyways. After a brave
fight, Nancy plunged into the dark waters of the Thames.

SCENE 18 – FAGIN’S DEN

NARRATOR: Sykes fled, knowing the web of dishonesty and violent crime, dragged him,
deeper. Terrified he dashed to Fagin’s den

[FAGIN and BOYS come on stage and look terrified as BILL crashes on stage. ]

FAGIN: (alarmed) Bill, what ‘as ‘appened? Where’s Nancy? Where’s the boy?

BILL: (shouting) Gone, both of them! Nancy, she double-crossed us! She took the boy to
Brownlow! And Nancy…………Nancy………….she’s gone…………deep in the river!

FAGIN: (horrified) What ‘ave you done? What ‘ave you done?

BOYS: Oh no. Poor Nancy!

SYKES: You got to ‘elp me. The dog will lead them ‘ere!

FAGIN: Oh no Bill! We can’t ‘elp you! (to the boys) C’mon all of yer it time to leave!

[THE BOYS scurry around grabbing belongings and heading off the stage in all directions.
FAGIN gathers his valuables box and races off stage.
A police whistle sounds off stage, followed by barking. SYKES looks around him scared. ]

SCENE 19 – LONDON STREET

BACKDROP: CITY AT SUNSET

PROP: BARKING AND POLICE WHISTLES

SYKES: Oh no. I knew it. That Bulls-Eye (runs off stage to more barks and police whistles )

NARRATOR: The police followed Bulls-Eye. When they caught up with Sykes, he had
climbed onto a roof to escape. Shaking his fist and cursing, he fell from the roof and met a
sorry end!
 22

[On stage MR BROWNLOW looking worried. Enter stage right A POLICEMAN with
OLIVER.]

POLICEMAN: Sir. (pushing OLIVER forward) Go on lad.

MR BROWNLOW: (gasps, as he hugs OLIVER) OLIVER, my dear boy………you are safe at

last!

[OLIVER and MR BROWNLOW retreat to back of stage.

On comes FAGIN looking quickly around him. JACK stands just off stage. FAGIN looks up
as JACK appears on stage.]

FAGIN: Is that you, Dodger?

JACK: ‘Course Fagin. Got a present for you. (handing over a wallet)

FAGIN: Lined?

JACK: Only the best! Lovely workmanship ‘aint it?

[FAGIN takes the wallet and examines it carefully.]

FAGIN: (smiling and linking arms with DODGER) I’m reviewing the situation………….

[ENDS WITH FAGIN AND DODGER]

I'm reviewing
The situation
Once a villain
you're a villain to the end
Your light fingers
Your inspiration
- What a team
- Am I your partner
More a friend
For your talent is employable
so make your life enjoyable
A world with pockets open wide
awaits your whim to grope inside
Collections undetectable
We might retire respectable

Together till our dying day

The living proof
that crime can pay
 23

I think we'll have

to think it out again

OLIVER, OLIVER
Never before has a boy wanted more
OLIVER, OLIVER

Won't ask for more

when he knows what's in store
There's a dark, thin, winding stairway
without any bannister
Which we'll throw him down
And feed him cockroaches
served in a canister
OLIVER, OLIVER, what will he do
when he's turned black and blue
He will rue the day
somebody named him OLIVER
OLIVER, OLIVER
Never before has a boy wanted more
OLIVER, OLIVER, won't ask for more
when he knows what's in store
There's a long, thin, winding stairway
without any bannister
Which we'll throw him down
 24

And feed him cockroaches

served in a canister
OLIVER, OLIVER
What, heavens pray
will the governors say
They will lay the blame
on the one
Who named him
OLIVER

Where is love
Does it fall
from skies above
Is it underneath
The willow tree
That I've been dreaming of
Where is she
Who I close my eyes to see
Will I ever know
The sweet hello
That's meant for only me
Who can say where she may hide
Must I travel far and wide
Till I am beside
The someone who
I can mean
Something to
Where
Where
Is love

Every night I
Kneel and pray
Let tomorrow
Be the day
When I see the face
Of someone who

I can mean
Something to
Where
Is love
Consider yourself at home
Consider yourself one of the family
I've taken to you so strong
It's clear we're going to get along
Consider yourself well in
Consider yourself
part of the furniture
There isn't a lot to spare
Who cares
Whatever we've got we share
If it should chance to be
we should see some harder days
Empty larder days
Why grouse
Always a chance we'll meet
somebody to foot the bill
Then the drinks
are on the house
Consider yourself our mate
We don't want to have no fuss
For after some consideration
we can state
Consider yourself one of us
- Consider yourself
- At home
- Consider yourself
- One of the family
- We've taken to you
- So strong
It's clear we're going to get along
- Consider yourself
There isn't a lot to spare
Who cares
25
Whatever we've got we share
Nobody tries to be lah-di-dah
and uppity
There's a cup of tea for all
Only it's wise to be handy
with a rolling pin
When the landlord comes to call
Consider yourself our mate
We don't want to have no fuss
For after some consideration
we can state
Consider yourself one of us
Consider yourself at home
Consider yourself one of the family
We've taken to you so strong
It's clear we're going to get along
If it should chance to be
we should see some harder days
Empty larder days
Why grouse
Always a chance we'll meet somebody
to foot the bill
Then the drinks
are on the house
Consider yourself at home
Consider yourself one of the family
We've taken to you so strong
It's clear we're going to get along
Consider yourself well in
Consider yourself
part of the furniture
There isn't a lot to spare
Who cares
Whatever we've got we share
Nobody tries to be lah-di-dah
and uppity
There's a cup of tea for all
Only it's wise to be handy
with a rolling pin
When the landlord comes to call
Consider yourself our mate
We don't want to have no fuss
For after some consideration
we can state
Consider yourself
One of us
 26

- Well in
Consider yourself
part of the furniture Get out and pick a pocket or two
You see, Oliver... Take a tip from Bill Sikes
In this life He can whip what he likes
one thing counts I recall he started small
In the bank, large amounts He had to pick a pocket or two
I'm afraid these You've got to pick a pocket
don't grow on trees or two, boys
You've got to pick a pocket or two - Anything
You've got to pick a pocket You've got for
- Anything to pick
you a pocket or two
or two, boys We can be like old Bill Sikes
You've got to pick a pocket or two if wegopick
I'd a pocket
anywhere oryour
for two smile
Large amounts don't grow on trees Dear old gent passing by
Anywhere
You've got to pick a pocket or two Something nice everywhere
For your smile takes his eyeI'd see
Let's show Oliver Everything's clear
how to do it! Attack
I know the
thatrear
Just a game, Oliver, just a game. Get
I'd in
doand pick afor
anything pocket
you, or two
dear
You've
Anythinggot to pick a pocket
Why should we break our backs or
Fortwo,
youboys
mean everything to me
stupidly paying tax You've
- To megot to pick a pocket or two
Have no fear
- To me
Better get some untaxed income Attack the rear
Better pick a pocket or two Get
I'd in
doand pick afor
anything pocket
you, or two
dear
You've got to pick a pocket Anything
or two, boys When I see
Yes, I'd someone rich
do anything
You've got to pick a pocket or two both my thumbs start to itch
- Anything
Why should we all break our backs Only to findfor
- Anything some
youpeace of mind
Better pick a pocket or two I- Would
have toyou
pickrob
a pocket
a shop or two
You've got to pick a pocket
- Anything
Robin Hood, what a crook or two, boys
- Would you risk the drop
Gave away what he took You've
- Anything to pick a pocket or two
got
Charity's fine We have to
- Though pick
your a pocket
eyes go popor two
Subscribe to mine - Anything
Get out and pick a pocket or two
You've got to pick a pocket - When you come down plop
or two, boys - Hang everything
Robin Hood was far too good We'd risk life and limb
To keep you in the swim
I'd do anything for you, dear - Yes, we'd do anything
Anything - Anything
For you mean everything to me Anything
For you
 27

I know that
I'd go anywhere for your smile,
Anywhere
For your smile's everywhere I'd see
- Would you climb a hill
- Anything
- Wear a daffodil
- Anything
- Leave me all your will
- Anything
- Even fight my Bill
- What, fisticuffs
I'd risk everything for one kiss
Everything
- Yes, I'd do anything
- Anything
Anything for you
I'd do anything for you, dear
Anything
For you mean everything to me
I know that
I'd go anywhere for your smile
Anywhere
For your smile everywhere I'd see
- Would you lace my shoe
- Anything
- Paint your face bright blue
- Anything
- Catch a kangaroo
- Anything
- Go to Timbuktu
- And back again
I'd risk everything for one kiss
Everything
Yes, I'd do anything