Oliver Twist

Nowhere is Dickens' anger at Victorian "political economy" more evident than in this stinging rebuke, and reader Martin Jarvis mitigates none of the sting. It's evident in the unctuous voice of Fagan, the brutal voice of Bill Sykes, the pomposity of Mr. Bumble, the pleading of Nancy, but above all, in the innocent hope of Oliver himself. With his precise but subtle reading of the author's irony, even when it occasionally lapses into sermons, Jarvis conveys to the reader all of Dickens' stinging anger at Victorian hypocrisy. He brings all of this nasty world to life but does it in such a graceful and relaxed way that Dickens' essential hope in the ultimate goodness of man and faith in the Victorian order are preserved intact. P.E.F. (c)AudioFile, Portland, Maine

[Editor's note: The following is a combined review with OLIVER TWIST.]--"Cliffs Notes"meets "Masterpiece Theater." If you like turgid nineteenth-century melodrama, you'll certainly enjoy these tapes, for they are slick, professionally--albeit unimaginatively--acted, and meticulously produced in the BBC's house style. Warning: Do not listen to these dramatizations expecting to find Dickens. Adapter/Director Nigel Bryant has excised everything that lifts the master's works high above conventional scenery chewing. For blood and thunder, these plays will do fine; for more satisfying Dickens on tape, we recommend the readings of Martin Jarvis and Miriam Margolyes. Y.R. (c) AudioFile 2001, Portland, Maine

Miriam Margolyes is one of the finest narrators in the business today. She has a particular flair for Dickens, which she proved on London and American stages in her witty, informed and brilliantly acted monologue, DICKENS'S WOMEN. She proves it again in the recording of OLIVER TWIST one of the author's most popular evergreens, about the little orphan who could.Margolyes skillfully plays in a tÉte-ê-tÉte with a mike.She has Dickens's verbal/visual personality down pat and breathes memorable, credible life into each of his many caricatures. One sees the story rather than hears it. She not only communicates the Dickensian world, but convinces us that it is a real world, full of vivid, breathing souls whom we can't help loving, hating, admiring and especially fretting over. Y.R. Winner of AUDIOFILE Earphones Award (c)AudioFile, Portland, Maine

This abridged version of the trials of Oliver Twist makes the tale quite accessible to young listeners. Dick Cavett does an excellent job of moving from his familiar, level voice in the narrative passages to the true vibrancy of the dialogue. He handles British accents of the more lowly characters quite well, his characterization of Fagin being especially insidious and distinct. Mr. Brownlow and Monks are less developed, and their characterizations rely more on the text. The abridgment is quite a feat, having reduced a tumultuous tale into a tight storyline. However, some of the final sequences require more careful listening to absorb plot developments. E.S.B. (c)AudioFile, Portland, Maine

Wells reads this classic satire of the orphaned Oliver Twist with marvelous gender changes and Cockney accents. Overtones of artificial compassion color Wells's portrayal of two crooks who appear to befriend Oliver. Their tone turns to fierce cruelty after Oliver joins them. However, his portrayal of Mrs. Man from the workhouse brings tears of laughter as she sounds like she's speaking without her teeth. Already a classic, Dickens's novel is delivered with such realism that listeners will feel like they're experiencing events with Oliver. The audiobook is a wonderful way to revisit the land of classics. G.D.W. (c) AudioFile 2001, Portland, Maine

This dramatization of Dickens's classic tale of a young orphan's journey from poverty and misery to familial love and security is a fine introduction for young listeners. The production uses an omniscient narrator to set scenes and make transitions. This narrator's clear and dispassionate voice introduces the listener to poor Oliver and keeps the story moving through numerous episodes to its happy ending. The other readers, men and women, are energetic and versatile throughout. M.T.F. (c) AudioFile 2001, Portland, Maine

[Editor's Note--The following is a combined review with DAVID COPPERFIELD, GHOST STORIES, GREAT EXPECTATIONS, HARD TIMES, MARTIN CHUZZLEWIT, THE MYSTERY OF EDWIN DROOD, NICHOLAS NICKLEBY, OUR MUTUAL FRIEND, THE PICKWICK PAPERS, and A TALE OF TWO CITIES.]--New Millennium presents the distinguished Academy Award winner Paul Scofield interpreting abridgments of the novels and stories of Charles Dickens. These are excellent readings, sonorous and compelling. However, they lack the verve and character of the old Victorian qualities that have been so wonderfully captured on cassette by Martin Jarvis and Miriam Margolyes, among others. And while few authors benefit more from pruning than the paid-by-the-word Dickens, some of these cuttings are far too drastic. In addition, hurried post-production is evident in numerous audible edits, frequent mouth noises, and occasional overlapping of announcer and narrator. Y.R. (c) AudioFile 2002, Portland, Maine

This retelling presents a condensed version of Dickens's work for young listeners. Smoothly written, it has been considerably shortened from the original. It recounts the main events but lacks Dickens's signature word craft. Jonathan Keeble is an authoritative guide through Oliver's orphan narrative. Keeble's commanding voice presents a series of interrelated vignettes, each separated by period music. His characters each have memorable voices, especially Fagin, who is a bombastic villain fully brought to life. With such voices, Keeble offers a performance, more than a narration. His changing tone and pace draw attention to dramatic events; however, some principals, notably Oliver, sound a bit caricatured. An informational booklet on Dickens accompanies the production. Keeble's vivid reading makes Oliver's story accessible for young listeners. C.A. (c) AudioFile 2012, Portland, Maine

Jonathan Keeble's voice is well suited to Dickens's beloved story of a parish boy's progress. In particular, his British accent gives this production a nice Òtwist.Ó His smooth, deep voice lends itself especially well to the words of the omniscient narrator. Keeble's depiction of the title orphan tends towards the high pitched, perhaps in an attempt to capture Oliver's na•veté, but the result sounds a bit forced. However, the other characters are spot-on. The voice of Fagin is superbly sinister, and the Artful Dodger's quick, clipped speech captures the essence of the young ruffian. Keeble adds refinement and polish to his voice for the highbrow Mr. Brownlow just as easily as he injects a base wickedness when portraying the villainous band of thieves. M.D. © AudioFile 2012, Portland, Maine

Dodging from the orphanage to the workhouse to the back alleys of London, OLIVER TWIST is one of the best known and most beloved stories in English literature. To bring Charles Dickens's fine use of language, satirical eye, and spirited characters to life, producer and director Paul McCusker assembled a wonderful cast of British voice talents, including 11-year-old Joseph Holgate as Oliver, Honeysuckle Weeks ("Foyle's War") as Nancy, and OBE recipient Roy Hudd as Mr. Bumble. With the assured and gentle voice of James Fox ("Downton Abbey") as the "storyteller," the production finds just the right balance between narrative passages and richly dramatized scenes. Mix in BBC-style sound effects, location recording, and an original musical score, and the listener will experience contemporary audio theater at its best. B.P. Winner of AudioFile Earphones Award, 2014 Audies Winner © AudioFile 2014, Portland, Maine