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Oliver!

Oliver! is a stage musical, with book, music and lyrics by Lionel Bart. The musical is based upon the 1838 novel Oliver Twist by Charles Dickens.

It premiered at the Wimbledon Theatre, southwest London in 1960 before opening in the West End, where it enjoyed a record-breaking long run. Oliver! ran on Broadway, after being brought to the U.S. by producer David Merrick in 1963. Major London revivals played from 1977 to 1980, 1994 to 1998, 2008 to 2011 and on tour in the UK from 2011 to 2013. Additionally, its 1968 film adaptation, directed by Carol Reed, won six Academy Awards including Best Picture.

Oliver! received thousands of performances in British schools, becoming one of the most popular school musicals. In 1963 Lionel Bart received the Tony Award for Best Original Score. Many songs are well known to the public, such as "Food, Glorious Food", "Consider Yourself" and "I'd Do Anything".

Background
Oliver! was the first musical adaptation of a famous Charles Dickens work to become a stage hit. There had been two previous Dickens musicals in the 1950s, both of them television adaptations of A Christmas Carol. The plot of Dickens's original novel is considerably simplified for the purposes of the musical, with Fagin being represented more as a comic character than as a villain, and large portions of the latter part of the story being completely left out. Although Dickens's novel has been called antisemitic in its portrayal of the Jewish Fagin as evil, the production by Bart (himself Jewish) was more sympathetic and featured many Jewish actors in leading roles: Ron Moody (Ronald Moodnick), Georgia Brown (Lilian Klot), and Martin Horsey.

Act I
The musical opens in the workhouse, as the half-starved orphan boys are entering the enormous dining hall for supper. They are fed only gruel, but find some solace by imagining a richer menu ("Food Glorious Food"). Oliver gathers up the courage to ask for more, and is immediately apprehended by parish beadle Mr. Bumble and the Widow Corney, the heartless and greedy caretakers of the workhouse ("Oliver!"). Mr. Bumble and Widow Corney are left alone, and Mr. Bumble begins to make amorous advances ("I Shall Scream!"). Mrs. Corney pretends to resent his attentions, but ends up on Mr. Bumble's lap, as he eventually proposes to her. Mr. Bumble then takes Oliver and sells him as an apprentice to an undertaker, Mr. Sowerberry ("Boy for Sale"). Mr. Sowerberry and his wife taunt Oliver and Mr. Bumble ("That's Your Funeral"), causing Mr. Bumble to become angry and storm out. Oliver is sent to sleep in the basement with the coffins ("Where Is Love?").

The next morning, Noah Claypole, another employee of Mr. Sowerberry, insults Oliver's dead mother, whereupon Oliver begins pummeling him. Mrs. Sowerberry and her daughter, Charlotte, who is also Noah's girlfriend, run in. The three lock Oliver inside a coffin, and Mr. Bumble is sent for. The entrance of an intoxicated Mr. Sowerberry doesn't aid matters, and during all the commotion Oliver escapes. After a week on the run, he ends up in the city of London and meets a boy about 16 years old known as the Artful Dodger. Dodger seems a kindly boy, and welcomes Oliver to join him and his friends ("Consider Yourself"). Dodger is, unknown to Oliver, a pickpocket, and invites Oliver to come and live in Fagin's lair. Fagin is a veteran criminal "fence" who sends out young boys as pickpockets. Oliver is completely unaware of any criminality and believes that the boys make handkerchiefs rather than steal them. Oliver is introduced to Fagin and his boys and taught their ways ("You've Got to Pick a Pocket or Two").

The next day, Oliver meets Nancy, an older member of Fagin's gang and the girlfriend of Fagin's terrifying associate Bill Sikes, a brutal house-burglar whose abuse she endures because she loves him. Nancy, along with her good friend Bet and the boys sing about how they mostly like their unconventional if dangerous lifestyle ("It's a Fine Life"). Oliver bows deeply to Nancy and Bet, trying to be polite. All the boys laugh and mimic Oliver. Nancy singles out Dodger to demonstrate the way the rich people treat each other ("I'd Do Anything"). Nancy and Bet leave, and Oliver is sent out with the other boys on his first pickpocketing job ("Be Back Soon"). Fagin tells Oliver to go with Dodger and another boy named Charley Bates, but when Dodger and Charley steal a handkerchief from Mr. Brownlow, a wealthy old man, they run off, leaving the horrified Oliver to be arrested for the crime ("The Robbery").

Act II

In the Three Cripples pub, at the request of boisterous customers, Nancy strikes up an old tavern song with the low-life ruffians, ("Oom-Pah-Pah"). Bill Sikes makes his first appearance and disperses the crowd ("My Name"). Dodger runs in and tells Fagin about Oliver's capture and removal to the Brownlow household. Worried that Oliver will "blow upon them" (i.e. betray the gang to the authorities), Fagin and Bill decide to abduct Oliver and bring him back to the den, with Nancy's help. Nancy, who has come to care for Oliver, at first refuses to help, but Bill physically abuses her and forces her into obedience. In spite of this, Nancy still loves Bill and believes he loves her too ("As Long as He Needs Me").

The next morning, at Mr. Brownlow's house in Bloomsbury, Mrs. Bedwin, the housekeeper, sings to Oliver ("Where Is Love? [Reprise]"), and Oliver wakes up as street-sellers begin their day's work outside ("Who Will Buy?"). Mr. Brownlow and Dr. Grimwig decide that Oliver is well enough to go outside, so Brownlow sends Oliver to return some books to the bookseller. Oliver sees a group of street vendors and joins them in song ("Who Will Buy? [Reprise]"). As the vendors leave, Nancy and Bill appear and grab Oliver. They bring him back to Fagin's den, where Nancy saves Oliver from a beating from Sikes after the boy tries to flee. Nancy remorsefully reviews their dreadful life, but Bill maintains that any living is better than none while Fagin tries to smooth things over ("It's A Fine Life [Reprise]"). Left alone, Fagin ponders his current existence and possible life changes ("Reviewing the Situation"); however, after thinking of various excuses, he elects to stay just as he is.

Back at the workhouse, Mr. Bumble and the Widow Corney, now unhappily married, are told by the dying pauper Old Sally that Oliver's mother, Agnes, left a gold locket when she died in childbirth. Old Sally had stolen the locket, which she gives to the Widow Corney before she dies. Mr. and Mrs. Bumble realize that Oliver may have wealthy relatives ("Oliver! [Reprise]") and visit Mr. Brownlow (who has advertised for news of Oliver), hoping to profit from any reward given for information. Mr. Brownlow realizes they are not interested in Oliver's welfare but only money and throws them out. Recognizing the picture inside the locket as a picture of his daughter, he realizes that Oliver is actually his grandson.

Nancy visits Mr. Brownlow, explains how she and Bill abducted Oliver, and remorsefully promises to deliver Oliver to him safely that night on London Bridge but refuses to give up her fellow gang members. She ponders again about Bill ("As Long as He Needs Me [Reprise]"). Suspecting Nancy, Bill follows her as she sneaks Oliver out of Fagin's den. At London Bridge, he confronts them and viciously clubs Nancy to death. He then grabs Oliver and runs off. Mr. Brownlow arrives and discovers Nancy's body. A large crowd forms, among them the distraught Bet. Bullseye, Bill's terrier, turns on his master and returns to the scene of the crime, and the crowd prepares to follow him. After Sikes brings Oliver to Fagin's hideout looking for aid, Fagin and his boys flee in panic. The constables break in, and Dodger is arrested before he can escape. Not finding Bill at the hideout, the crowd returns to the Thames Embankment. Bill appears at the top of the bridge, holding Oliver as hostage and threatening to kill him. When a memory of the dead Nancy freezes Sikes, two policemen sneak up on him, and one of them shoots Bill while the other grabs Oliver. After Oliver is reunited with Mr. Brownlow, the mob disperses. Fagin appears and decides that the time has never looked better for him to straighten out his life ("Reviewing the Situation [Reprise]").

Musical numbers
Act I
 * "Food, Glorious Food" – Workhouse Boys
 * "Oliver!" – Mr Bumble, Widow Corney, Boys and Governors
 * "I Shall Scream" – Mr Bumble and Widow Corney
 * "Boy for Sale" – Mr Bumble
 * "That's Your Funeral" – Mr Sowerberry, Mrs Sowerberry, and Mr Bumble
 * "Where Is Love?" – Oliver
 * "Consider Yourself" – The Artful Dodger, Oliver, and Chorus
 * "You've Got to Pick a Pocket or Two" – Fagin and Fagin's Gang
 * "It's a Fine Life" – Nancy, Bet, and Fagin's Gang
 * "I'd Do Anything" – The Artful Dodger, Nancy, Oliver, Bet, Fagin, and Fagin's Gang
 * "Be Back Soon" – Fagin, The Artful Dodger, Oliver and Fagin's Gang

Act II (Note: All songs with a # next to them are not on the original London recording. In addition, the Broadway recording drops "That's Your Funeral" and the Act Two reprise of "Oliver!".) The 1994 and 2009 London revival recordings include the Coffin Music, The Robbery, the reprises of "Where is Love" and "It's a Fine Life" and the London Bridge scene.
 * "Oom-Pah-Pah" – Nancy and Chorus
 * "My Name" – Bill Sikes
 * "As Long as He Needs Me" – Nancy
 * "Where Is Love?" (Reprise) #– Mrs Bedwin
 * "Who Will Buy?" – Oliver, Vendors, and Chorus
 * "It's a Fine Life" (Reprise) #– Bill Sikes, Nancy, Fagin, and The Artful Dodger
 * "Reviewing the Situation" – Fagin
 * "Oliver!" (Reprise) – Mr Bumble and Widow Corney
 * "As Long as He Needs Me" (Reprise) – Nancy
 * "Reviewing the Situation" (Reprise) – Fagin
 * Finale ("Food, Glorious Food", "Consider Yourself" and "I'd Do Anything") – Company

Original London production
Oliver! premiered at the Wimbledon Theatre for a preliminary engagement before opening at the New Theatre (now the Noël Coward Theatre) on 30 June 1960 and ran for 2,618 performances, a record for a musical in London at the time. Directed by Peter Coe, the choreographer was Malcolm Clare and costumes and scenery were by Sean Kenny. The original cast featured Ron Moody as Fagin, Georgia Brown as Nancy, and Barry Humphries in the supporting role of Mr. Sowerberry, the undertaker. Keith Hamshere (the original Oliver) is now a Hollywood still photographer; Martin Horsey (the original Artful Dodger) worked as an actor/director and authored the play L'Chaim. Other boys who alternated in the juvenile leads included Phil Collins, Leonard Whiting and Davy Jones as the Artful Dodger. The cast also included Tony Robinson as one of the Workhouse boys/Fagin's Gang, and John Bluthal as Fagin. Former professional boxer Danny Sewell was the original Bill Sikes and remained in the role (including the original Broadway and US touring productions) for almost six years. Steve Marriott played workhouse boys including The Artful Dodger, and he is featured on the original soundtrack LP. Michael Cashman played the role of Oliver during his time in the production.

Sid James turned down the part of Fagin as the timing of the production coincided with his own attempts to move away from the shady and roguish roles for which he was well known.

Original Broadway production
David Merrick brought Oliver! to the Broadway stage, where it premiered at the Imperial Theatre on 6 January 1963. It closed on 14 November 1964, after 774 performances. The cast featured child actor Bruce Prochnik in the title role alongside Georgia Brown, Danny Sewell and Barry Humphries, reprising their West End roles as Nancy, Bill Sikes and Mr. Sowerberry, respectively, and Clive Revill as Fagin, replacing Ron Moody. The national tour and cast recording featured Michael Goodman as The Artful Dodger, but on Broadway the role was played by future Monkee Davy Jones, another veteran of the London production. The Broadway production was a critical success and received ten Tony Award nominations, including Best Musical, Best Actor in a Musical, Best Actress in a Musical and Best Featured Actor in a Musical. It won the awards for Best Scenic Design, Best Original Score and Best Music Direction. The Broadway production was revived shortly after the original production closed. The revival opened in 1965 and was directed by Peter Coe. It ran at the Martin Beck Theatre for 64 performances, featuring Victor Stiles as Oliver, Robin Ramsay as Fagin, Maura K. Wedge as Nancy, Joey Baio as The Artful Dodger, Dominic Chianese as Mr. Sowerberry, Alan Crofoot as Mr. Bumble, Danny Sewell as Bill Sikes, Bram Nossen as Mr. Brownlow, and Dodi Protero as Mrs. Bedwin. The cast recording was done in Los Angeles in advance of its New York opening.

Georgia Brown, Davy Jones, Ronnie Kroll, Joan Lombardo, and Robin Ramsay appeared performing two musical numbers from Oliver! ("I'd Do Anything" and the Act II reprise of "As Long as He Needs Me") on The Ed Sullivan Show on the evening of 9 February 1964, the same evening that the Beatles made their first U.S. television appearance on that show.

1967 and 1977 London revivals
A revival opened in April 1967 at the Piccadilly Theatre, starring Paul Bartlett as the title character and Barry Humphries as Fagin, with Marti Webb as Nancy, running for 331 performances. It was directed by David Phethean, produced by Donald Albery, with sets by Sean Kenney.

Cameron Mackintosh revived Oliver! in London in 1977. It played at the Albery Theatre (the renamed New Theatre; now the Noël Coward Theatre), starring Roy Hudd as Fagin (later replaced by Roy Dotrice and then George Layton, ) and ran for over two years. This production was totally faithful to the 1960 original version, using Sean Kenny's set. The original production's sepia background painted on the rear stage wall was still extant.

1983 London and Broadway revivals
Mackintosh was asked to revive the show yet again in 1983 for a limited five-week Christmas season at the Aldwych Theatre, directed by Peter Coe. Ron Moody returned as Fagin, with Jackie Marks as Nancy, Linal Haft as Bill Sikes, Meg Johnson as Mrs Corney, Peter Bayliss as Mr. Bumble, and Geoffrey Toone as Mr Brownlow. Oliver was played by Anthony Pearson and the Artful Dodger by David Garlick. The original Sean Kenny sets were used. The last professional production to use Sean Kenny's original stage design was at the Queen's Theatre, Hornchurch, Essex, in 1986. This production starred Victor Spinetti as Fagin.

The 1983 London revival of Oliver! transferred to Broadway in 1984. It opened at The Mark Hellinger Theatre and ran from 29 April 1984 through 13 May 1984, for 17 performances and 13 previews. Ron Moody reprised the role of Fagin and Patti LuPone played Nancy. David Garlick reprised his West End performance as The Artful Dodger, the first British youngster to appear on Broadway since Davy Jones, creating the Equity Exchange Program in the process. The original creative staff were used for this production, including director Peter Coe. For this production, the song "I Shall Scream" was eliminated.

LuPone, in her memoirs, said that the production should have run longer, noting that this production utilized the original sets, costumes, blocking (staging), and direction, and commented: "Hmm...maybe 'that' was the problem". Moody was nominated for a Tony Award despite the short run. The show only received one negative review; it was from Frank Rich of The New York Times who called the production "likely to hold the attention of only the youngest and most obedient children" and "just dull". It prompted one of the main backers to pull out. The positive reviews were quoted in the ad for the show, including a Clive Barnes quote: "Oliver! is glorious food for Broadway".

LuPone had asked the show's Musical Director to change her keys because they were too low for her, but was told she could not. She wrote that she "had major battles with the musical director", one concerning the term "vamp"; "he never waited for me to finish my dialogue."

1994 London revival
Cameron Mackintosh produced another revival of the show which opened at the London Palladium in the West End on 8 December 1994. The production team included a young Sam Mendes as director, with Anthony Ward as designer, Matthew Bourne as choreographer, Martin Koch as music supervisor and William David Brohn as orchestrator. The cast included Jonathan Pryce (after much persuasion) as Fagin, Sally Dexter as Nancy, Miles Anderson as Bill Sikes, James Villiers as Mr. Brownlow, James Saxon as Mr. Bumble, Jenny Galloway as Widow Corney, David Delve as Mr. Sowerberry and Julia Deakin as Mrs. Sowerberry. The role of Oliver was played by numerous child actors during the run of four years, including Gregory Bradley, Ben Reynolds, Jon Lee, Steven Webb, James Bourne, James Rowntree and Tom Fletcher, while the Artful Dodger was played by Adam Searles and others including Matt Johnson, Paul Bailey and Bronson Webb. The role of Bet was played by Danielle McCormack, Rosalind James, Francesca Jackson and Lindsey Fawcett. The role of Fagin was later played by many notable British actors and comedians including George Layton, Russ Abbot, Jim Dale and Robert Lindsay (who won an Olivier Award for his performance in 1997). Bill Sikes was later portrayed by Steven Hartley and Joe McGann, and Nancy by Sonia Swaby, Claire Moore and Ruthie Henshall. The musical closed on 21 February 1998.

1998 UK tour
Following the Palladium production, a UK tour produced by Mackintosh (in co-production with Theatre Royal, Plymouth) began in 1998 starring Gary Wilmot as Fagin, Sonia Swaby as Nancy and David Birrell as Bill Sikes.

2009 London revival
A production heavily based upon the 1994 Palladium production opened in London's West End on 14 January 2009. Produced once again by Cameron Mackintosh, this revival was directed by Shakespeare expert Rupert Goold and choreographed/co-directed by Matthew Bourne. Anthony Ward repeated his acclaimed scenic and costume designs while William David Brohn joined the team as orchestrator, revising some of the musical arrangements. Designer Anthony Ward created a new cobblestone effect for the entire stage while the orchestrations were expanded with new dance arrangements given to "Consider Yourself" and "Who Will Buy?" as well as new curtain call/exit music. The prologue from the Palladium production was removed, and the show now opens as it originally did in 1960, with the workhouse children entering, singing "Food, Glorious Food".

British comedian Rowan Atkinson played Fagin. He had played the role in a school production but had turned it down in the Palladium revival. Burn Gorman played Bill Sikes, making his West End musical debut. Three actors shared the role of Oliver: Harry Stott, Laurence Jeffcoate and Gwion Wyn Jones. Robert Madge, Ross McCormack, Eric Dibb Fuller and Jack Glister played The Artful Dodger. Jodie Prenger won the role of Nancy, shared with Australian Tamsin Carroll, who played two performances each week. Sarah Lark, a runner-up on "I'd do Anything" understudied the role. Royal Shakespeare Company actor Julian Glover played Mr. Brownlow with Julian Bleach as Mr. Sowerberry/Dr. Grimwig, Louise Gold as Mrs. Sowerberry, Julius D'Silva as Mr. Bumble and Wendy Ferguson as Widow Corney. The revival was nominated for three 2010 Olivier Awards: Best Revival of a Musical, Best Actor in a Musical (Atkinson) and Best Theatre Choreography, but failed to win any. After the departure of the original Olivers, the role was passed on to Zac Hurst, Francesco Piancentini-Smith, Edward Cooke, Edward Holtom and Ethan Smith. Edward Holtom made a sad departure, one month before his scheduled leave and the date on his contract expired. No reason was given for this.

When Rowan Atkinson fell ill in April 2009, Russ Abbot stepped in to play the role temporarily. Abbot had starred in the 1997 Palladium run. In July 2009, British comedian Omid Djalili replaced Atkinson as Fagin, receiving positive reviews. In December 2009, Griff Rhys Jones took over as Fagin, with Steven Hartley as Bill Sikes. Hartley had played Sikes in the 1997 Palladium production. In March 2010, Kerry Ellis took over the role of Nancy, also receiving positive reviews. Bleach, D'Silva, and Ferguson were replaced by Jason Morell, Christian Patterson, and Claire Machin, respectively. In June 2010, Russ Abbot again took over as Fagin. Stephen Moore was a replacement for Mr. Brownlow. Ron Moody, the original Fagin, joined the cast at the end of the performance on 14 June 2010, in celebration of the show's 50th Anniversary. Griff Rhys Jones returned as Fagin in December 2010.

The production closed on 8 January 2011, to be replaced at the theatre by the original London production of Shrek The Musical.

2011 UK and Ireland tour
After the 2009 revival closed in January 2011, Cameron Mackintosh announced that a new production based on the Drury Lane production with a new set and direction by Laurence Connor would embark on a 13-month UK and Ireland tour beginning at the Wales Millennium Centre, Cardiff in December 2011 and ending February 2013 at the Bristol Hippodrome. The tour was announced to star Neil Morrissey and Brian Conley sharing the role of Fagin and Samantha Barks (who came third in the BBC reality show I'd Do Anything, which was won by Jodie Prenger to be cast in the 2009 revival as Nancy) as Nancy.

In January 2012, Mackintosh made a surprise appearance at the curtain call of a performance to announce that Barks had been cast as Eponine in the movie adaptation of Les Misérables, causing her to leave the tour on 1 April during the Birmingham Hippodrome run, being replaced by Cat Simmons. Barks later returned for the final two weeks of the Edinburgh Playhouse run in June before returning with Morrissey. She once again left the production early to perform at the 2013 Oscars.

2023 Encores!
In June 2022, it was announced New York City Center would stage Oliver as a part of its Encores! series. The cast features Lilli Cooper (Nancy), Raúl Esparza (Fagin), Julian Lerner (The Artful Dodger), Tam Mutu (Bill Sikes), Brad Oscar (Mr. Bumble), Benjamin Pajak (Oliver), Michael Siberry (Mr. Brownlow), and Mary Testa (Widow Corney) with direction by Lear deBessonet. The production ran from May 3rd - 14th 2023. Gavin Lee was the standby for Fagin but went on several times during the run.

Planned 2024 London revival
A new production presented by Cameron Mackintosh is scheduled to open at Chichester Festival Theatre from 8 July to 7 September 2024, before transferring to the Gielgud Theatre in London's West End from 14 December. It will be newly revised by Mackintosh and directed and choreographed by Matthew Bourne, designed by Lez Brotherston with a cast including Simon Lipkin as Fagin, Shanay Holmes as Nancy, Aaron Sidwell as Bill Sikes, Billy Jenkins as the Artful Dodger, and Philip Franks as Mr. Brownlow.

UK regional productions
In December 2013, a revival directed by Daniel Evans opened at the Crucible Theatre, Sheffield with Tom Edden as Fagin for the festive season.

An actor-musician production opened at the Watermill Theatre, Newbury directed by Luke Sheppard with a cast including Cameron Blakely as Fagin and Alice Fearn as Nancy which ran from 31 July to 19 September 2015.

In December 2015, a revival opened at the Curve, Leicester for the festive season starring Peter Polycarpou as Fagin, Cat Simmons and Laura Pitt-Pulford as Nancy, directed by Paul Kerryson.

In November 2023, a production opened at the Leeds Playhouse (converting the theatre in the round) for the festive season directed by James Brining with a cast including Steve Furst as Fagin and Jenny Fitzpatrick as Nancy.

International productions
In 1963, Dutch musician Seth Gaaikema translated the musical into Dutch.

In 1968, Oliver was taken to Japan for 3 months with Sean Kenny's original set, by the Japanese film company Toho Productions. "Consider Yourself" was translated into Japanese for the final Curtain Calls. Directed by Geoff Ferris who had worked on the UK production in 1967. Australian actor Robin Ramsay played Fagin. Most of the cast were British along with two original British boys, Ray Millross who played the Artful Dodger and Terry Latham who played Charlie Bates. Ray Millross had played one of the boys and Oliver in the original production at the then New Theatre in London and also shared the role of the Artful Dodger at the Piccadilly Theatre in London in 1967 before transferring to the Imperial Theatre in Tokyo, Japan in 1968 for 4 months. The rest of the workhouse boys and Fagin's gang were American including Robbie Benson, now a well known American Actor and Linda Purl who shared the role of Bet, also now a well known American Actor and Singer.

Vincent Price starred as Fagin in a 1974 summer stock production in Columbus, Ohio and again in 1976 in a regional tour that included The Music Hall at Fair Park in Dallas, Texas and the St. Louis Municipal Opera Theatre (see "1976 [Season 58] - The Regular Season" of List of The Muny repertory).

In 1983, a new production of Oliver was the first musical produced by Philadelphia's Walnut Street Theatre as part of its inaugural season as a self-producing theatre.

The Australian tour was a successful trip through Sydney, Melbourne, and Singapore from 2002 to 2004. The show, which mirrored Sam Mendes's production, was recreated by Graham Gill. John Waters played Fagin, Tamsin Carroll was Nancy, and the production also featured Stuart Wagstaff, Steve Bastoni and Madison Orr and Keegan Joyce in the title role, which was rotated between the two. The role of the Artful Dodger was shared between Mathew Waters and Tim Matthews, with Waters performing on the opening night. Waters declined the tour after the Sydney production to appear in the Hollywood movie Peter Pan.

A North American tour began in 2003, produced by Cameron Mackintosh and Networks. It ran till March 2005 and played most major theatrical venues in the U.S. and one in Canada. The show was directed by the London team which managed the Sam Mendes version in London and the Australian tour, with Graham Gill as director. The cast included Mark McCracken as Fagin, Renata Renee Wilson as Nancy and Justin S. Pereira as Oliver. In October 2008 Columbia Artists Theatricals mounted a new North American National tour directed by Clayton Philips. The production toured until March 2009.

The first Estonian production of the show was presented in the early 1990s in Tartu. A revival ran in November–December 2003 with Aivar Tommingas as Fagin and Evelin Samuel as Nancy. The musical was performed also twice in Israel in 1966 and 2008 starring Shraga Fridman and Rivka Raz in the first production and Sasson Gabai and Ania Bukshtein in the second. In December 2010 a Dutch language version of the musical opened in Gent, Belgium, to be transferred at the end of the same month to Antwerp. In 2011 a Syrian production is to be performed at the Damascus Opera. In 2012 a new production was staged by Popular Productions in Dubai, UAE (First Group Theatre). It starred Philip Cox as Fagin and Lucy Hunter-James as Nancy.

Principal characters

 * Oliver Twist, the main character of the story. He is a lonely orphan boy born in the workhouse who asks for more gruel.
 * Fagin, a conniving career criminal, takes in homeless boys and teaches them to pick pockets for him.
 * Nancy, Bill Sikes's partner. She takes a liking to Oliver and treats him and the pickpockets like her own children, but is eventually murdered for the steps she takes on Oliver's behalf.
 * Bill Sikes, Nancy's brutal and abusive partner, a burglar and her eventual murderer. One of Fagin's former successful pickpockets.
 * Mr. Brownlow, Oliver's grandfather, a kind man of wealth and breeding.
 * Mr. Bumble, the pompous beadle of the workhouse in which Oliver was born.
 * The Artful Dodger, the cleverest of Fagin's pickpockets, he introduces Fagin to Oliver. He is shown to be very close with Nancy.
 * Bet, Nancy's best friend. She is sometimes depicted as her sister.
 * Charley Bates, Dodger's friend and thief who is part of Fagin's gang. In the end of the book, he decides to change his morals and stop thieving.
 * Mr. and Mrs. Sowerberry, the insensitive couple who take in Oliver and use him in their funeral business.
 * Widow Corney, the matron of the workhouse where Oliver was born, later marries Mr. Bumble.
 * Charlotte Sowerberry, the rude and often flirtatious daughter of Mr. and Mrs. Sowerberry. She enjoys a flirtatious relationship with Noah Claypole.
 * Noah Claypole, The Sowerberrys' apprentice, he bullies Oliver about his mother and enjoys a flirtatious relationship with Charlotte.
 * Dr. Grimwig, foppish doctor and friend of Mr. Brownlow. He assesses Oliver's condition at the beginning of Act II, deeming him fit to go outside.
 * Mrs. Bedwin, house-servant to Mr. Brownlow and caretaker of Oliver.
 * Old Sally, nurse at Oliver's birth. Old Sally steals Agnes's (Oliver's mother's) gold locket which is the only clue to Oliver's identity. Before she dies, she gives the locket to Mr. Bumble and Mrs. Corney.

Film adaptations
In 1968, the show was adapted for film, with a screenplay by Vernon Harris and direction by Carol Reed. It starred original Fagin Ron Moody with Jack Wild, Shani Wallis, Oliver Reed, Mark Lester, Harry Secombe and Leonard Rossiter. The 1968 motion picture won six Academy Awards including Best Picture, and received nominations for both Moody and Wild. It was first telecast in the United States by ABC-TV in 1975. The film went to cable in the US in 1982, and it is still regularly broadcast.

On 1 March 2013, a planned remake of Oliver! was announced. It was originally aiming for a 2016 release. Cameron Mackintosh, the producer of the film version of the musical Les Misérables was announced as producer, and potential talent included Les Misérables' Samantha Barks, who played Nancy on the 2011-2013 UK Tour, repeating her part and Stephen Daldry as the director.

Recordings
The score of Oliver! has been recorded numerous times. There are cast recordings (on compact disc) available for the original London and Broadway productions as well as for the 1968 film and the 1994 and 2009 London revivals. The 2009 London cast album was recorded live on opening night.

There are several studio cast recordings of the show. including with Stanley Holloway as Fagin and Alma Cogan as Nancy (Capitol Records ST 1784, 1962), with Jon Pertwee of Doctor Who fame as Fagin and Jim Dale as The Artful Dodger (Music for Pleasure MFP 1073, 1966), with Ian Carmichael as Fagin and Joyce Blair as Nancy (World Record Club S-7036, 1963) and with Josephine Barstow as Nancy, Sheila Hancock as Mrs. Corney and Julian Forsyth as Fagin (That's Entertainment Records/TER MUS C NO3, 1994; a new version was released in 2009 with Sally Ann Triplett replacing Barstow).

Cast and characters
The following table gives the principal casting information for the major productions (both original and revival) of Oliver!.

London (1977)

 * Fagin: Roy Dotrice, George Layton

London (1994-1998)

 * Fagin: George Layton, Russ Abbot, Jim Dale, Robert Lindsay, Barry Humphries
 * Nancy: Claire Moore, Ruthie Henshall
 * Bill Sikes: Steven Hartley, Joe McGann,

London (2009-2011)

 * Fagin: Omid Djalili, Griff Rhys Jones, Russ Abbot
 * Nancy: Kerry Ellis
 * Bill Sikes: Steven Hartley

Additional notable performers

 * Fagin: Vincent Price, Gary Wilmot, Neil Morrissey, Brian Conley, Peter Polycarpou, Cameron Blakely, Bruce Adler, Patrick Page, David Garrison, Jeff McCarthy, Donald Corren, Steve Furst, Gavin Lee
 * Nancy: Samantha Barks, Cat Simmons, Laura Pitt-Pulford, Alice Fearn, Jenny Fitzpatrick, Ellen Greene, Jenny Powers, Kate Shindle
 * Bill Sikes: Iain Fletcher, Oliver Boot, Ben Crawford, Jose Llana

2009 Teatr Rozrywki w Chorzowie
Oliver! was one of eight UK musicals featured on Royal Mail stamps, issued in February 2011.

Sequel
Dodger!, a sequel to Lionel Bart's Oliver! was composed by Andrew Fletcher with the book and lyrics written by David Lambert. It is set seven years after the events in the novel Oliver Twist by Charles Dickens where the Artful Dodger has been sentenced to an Australian penal colony and has a romantic involvement with the character Bet.

Ownership
When Lionel Bart faced severe financial difficulties several years later, he sold his past and future rights to Oliver! to the entertainer Max Bygraves for £350. Bygraves later sold them on for £250,000.

title: Oliver!


text:
Talk:Espresso

Instant espresso
Zaffiro, I'm a little curious about this edit. How is instant espresso different than instant coffee? And more curiously, why do we want to avoid mentioning it? – JBarta (talk) 21:11, 12 November 2014 (UTC)

 * What is espresso 2400:1A00:B030:A2FB:196D:515D:27EC:BF83 (talk) 07:41, 27 June 2024 (UTC)

Glad you asked. "Espresso" is not a bean, a roast or a grind. It is a method of making coffee. Several recognized definitions are collected here: http://lrs.ed.uiuc.edu/students/tchen3/espdifine.html. What the definitions all have in common is that the drink is produced by forcing water at great pressure through finely ground coffee, resulting in a small, very concentrated beverage with an emulsified layer of foam on top called "crema."

When a company calls its instant coffee "espresso," they are trying to evoke some kind of association with the drink, but it is definitely not espresso. Zaffiro (talk) 04:44, 13 November 2014 (UTC)

 * Your take on the matter does't quite jive with the source you present. Your source defines "espresso" as both a beverage and a method. Actually that's being generous. The source overwhelmingly defines it and refers to it as a beverage rather than a method. And while your views on the legitimacy of an "instant espresso" product are interesting, it doesn't really matter what your views are or what you think their marketing aims might be. What matters is what the sources say. And your source isn't saying. The product also seems to be marketed as "espresso powder" for use in cooking. Certainly no one is suggesting that "instant espresso" is the same as traditional espresso, but that doesn't mean we have to avoid it altogether. I see no reason why it can't be included in an accurate and neutral manner. If sources generally describe it negatively as you have, we can include that as well. If sources really don't comment one way or another, then maybe we shouldn't editorialize and just let the reader decide. – JBarta (talk) 09:19, 13 November 2014 (UTC)

Of course espresso is a "beverage." Otherwise you couldn't order one in a coffee shop. My point was that espresso "the beverage" is only produced by espresso "the method," which is what all those definitions are telling you. Zaffiro (talk) 16:09, 13 November 2014 (UTC)

 * Well here's a source that defines instant espresso as a powder which makes espresso when combined with hot water. And this states that espresso powder is brewed espresso (maybe even by the espresso method?!) that has been dehydrated into granules and to make espresso, you just add boiling water. Now granted, most uses seem to be for cooking, but the fact remains that it's a real product and it falls under the topic of espresso. You seem to champion limiting the article to only include espresso brewed in the traditional fashion by the espresso method. Clearly though, the topic of "espresso" is not limited to that. In my opinion the article is improved by mentioning instant espresso (and espresso powder) and certainly is not harmed. – JBarta (talk) 18:18, 13 November 2014 (UTC)

In reference to this paragraph (quoting):

While the 'expresso' spelling is recognized as mainstream usage in some American dictionaries,[20][21] its inclusion is controversial, with many outright calling the 'x' variant illegitimate.[22][23][24][25] Oxford Dictionaries online states "The spelling expresso is not used in the original Italian and is strictly incorrect, although it is common."[26]

''I would welcome further discussion on the etymology and also about whether the paragraph should be modified, and how. I'll provide an Italian translation if anyone desires such. My comment is the following:''

'Espresso' is the singular masculine past participle of 'esprimere' "to express". So, "espresso fuori", or simply 'espresso', would be in English "expressed", in the sense of "articulated". Whereas, to press out, or squeeze out, in Italian would be "per spremere fuori" < spremere "squeeze or press out" < premere 'squeeze or press out'. And the singular masculine past participial expression would be "spremuto fuori", or simply 'spremuto'. One theory might be that there was an earlier use of the past participle 'espresso'-- *espresso(2)-- which meant the same thing as 'spremuto', and that this use has carried over into Modern Italian when used in reference to the beverage. See https://it.wiktionary.org/wiki/spremuto and https://en.wiktionary.org/wiki/spremere But see this article which states that some sources derive the term 'espresso' from the English adverb 'expressly' (in "expressly for the customer"): https://en.wiktionary.org/wiki/espresso While the notion that the English language may have given Italians the term for a favorite beverage of theirs may seem improbable at first, the etymology makes sense from the standpoint of the Italian language itself; and the popularity of Italy during past centuries as a destination for English tourists might go a long way toward accounting for it. With this in mind, I'll continue to use 'expresso' and consider the term 'espresso' to be "posh" English and a violation of "noblesse oblige". Lavomengro (talk) 23:55, 24 February 2015 (UTC)

 * call it as you prefer, it's not obbligatory to use the correct form (espresso). JacktheBrown (talk) 20:44, 4 July 2024 (UTC)

Zaffiro (talk) 01:25, 3 March 2015 (UTC) This subject was debated at great length here two or three years ago, provoked by someone who wanted to use a dictionary's etymology section as a substitute for research into the history of coffee. We finally posted a quote and citation from Ian Bersten's famous history of coffee devices, which describes the three meanings. That explanation has remained ever since. If we had to choose just one reason why "espresso" was originally chosen to describe this drink, the prevailing view in the coffee industry is that it is speed of preparation, as demonstrated by early Italian advertising posters comparing espresso to a speeding "express" train. I would really like to avoid rehashing that same debate now.

Coming in late, but here's something to consider: contestants on Chopped (TV series) sometimes use espresso powder in their dishes and the judges have never complained about it. (I don't think it's ever been a basket ingredient, but considering some of the odd things that get into baskets, it might.) JDZeff (talk) 19:29, 23 July 2018 (UTC)

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Expresso
The alternative spelling "expresso", which the Oxford English Dictionary and the Online Etymological Dictionary call a variant spelling, was deleted from the lead. The Wikipedia guideline on lead sections states that alternative spellings should be provided in the lead. MOS:LEADALT states that "significant alternative names for the topic should be mentioned in the article, usually in the first sentence or paragraph. These may include alternative spellings, longer or shorter forms, historical names, and significant names in other languages." An editor called the spelling "expresso" a corrupt spelling. Yes, various sources call "expresso" "wrong" and "incorrect". However, there are also sources supporting the "x" spelling. If "expresso" is good enough for the Oxford English Dictionary (which calls it a "variant" spelling), it is good enough for our Wikipedia article. I am putting "expresso" back in the lead, with the references it had before it was deleted. As well, MOS:LEAD states that the lead should "...summarize the most important points, including any prominent controversies." Espresso isn't a controversial political or religious topic, so about the most controversial thing about it is how it should be spelled. OnBeyondZebrax • TALK 00:55, 22 May 2016 (UTC)
 * Thank you. Also, you (MOS:LEADALT) mentioned other languages. There is at least this one: https://fr.wikipedia.org/wiki/Expresso, and I think it and any very popular others should be mentioned. (The drink may be attrib to Italy, but many mixes of it are French.) Sadsaque (talk) 19:52, 2 November 2016 (UTC)

Etymology
OnBeyondZebrax added the content below to the section on Etymology. This seems excessive for content and sources on what should be a concise matter per WP:NOTMANUAL and WP:OVERCITE.

"There is a debate over whether the spelling expresso is incorrect or whether it is an acceptable variant. It is called a less common variant in some sources. Italy uses the term espresso, substituting most x letters in Latin root words with s; x is not considered part of the standard Italian alphabet. Italian people commonly refer to it simply as caffè (coffee), espresso being the ordinary coffee to order; in Spain, while café expreso is seen as the more "formal" denomination, café solo (alone, without milk) is the usual way to ask for it when at an espresso bar. Some sources state that expresso is an incorrect spelling, including Garner's Modern American Usage. While the 'expresso' spelling is recognized as mainstream usage in some American dictionaries, some cooking websites call the 'x' variant illegitimate.   Oxford Dictionaries online states "The spelling "expresso" is not used in the original Italian and is strictly incorrect, although it is common." The Oxford English Dictionary and Merriam-Webster call it a variant spelling. The Online Etymology Dictionary calls "expresso" a variant of "espresso." The Oxford Dictionary of American Usage and Style (2000) describes the spelling expresso as "wrong", and specifies espresso as the only correct form. The third edition of Fowler's Modern English Usage, published by the Oxford University Press in 1996, noted that the form espresso "has entirely driven out the variant expresso (which was presumably invented under the impression that It. espresso meant 'fast, express').""

--Zefr (talk) 01:35, 22 May 2016 (UTC)
 * Zefr is incorrect. The content above was not all added by OnBeyondZebrax. Two parts of it were added by me. The section as it stands seems to me to cover the dichotomous aspects of the matter concisely and judiciously.  Tim riley  talk    07:00, 22 May 2016 (UTC)

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Cold Espresso origin question
"Cold espresso (espresso freddo) is an alternative form of espresso, mostly served in southern Europe. Conceived in Greece" What evidence is there to support this claim? My parents from Spain were drinking cold espresso ("solo con hielo") back in the 40s. In Italy this is also a very popular drink. Beside being a rather uninteresting claim, I cannot see how any country with hot weather can prove they were the first ones to think of serving ice-cold coffee. Seems like a pretty obvious thing to do in summer in any country. — Preceding unsigned comment added by 95.172.233.247 (talk) 13:36, 6 June 2019 (UTC)

Dispute over espresso machine
This edit is an opinion, WP:OR, supported only by a commercial, spam source. It has been reverted. is edit warring, and warned for WP:3RR and original research. --Zefr (talk) 23:04, 24 September 2019 (UTC)

Purpose of the espresso roast section; items in the see also section
Thank you to everyone who has contributed to this article. I noticed that the espresso roast section is quite small. I believe that the purpose of this section is to convey that generally, certain batches of coffee beans are roasted with the expectation that they will be used for espresso, and that creates an opportunity to talk about why this is and what decisions go into creating an espresso-specific roast. I was wondering if anyone had any insight into why that section exists before I attempt to expand on it.

I don't think the majority of the items in the see also section are any more pertinent to espresso than they are to any other coffee topic. Cuban espresso isn't necessarily more strongly associated than any other espresso-based beverage; knockboxes aren't necessarily more significant than any other espresso making equipment, and I think that bikini baristas are more associated with cafe culture than espresso itself (though I didn't even realize that that variation on baristaing existed until reading this article). Is there any reason why I shouldn't abbreviate that list? Stelercus (talk) 03:58, 1 April 2020 (UTC)

Origin
Espresso first appeared in France and after developped in Italy. The first espresso machines were created in France, it is already in the article. Then the drink itself: "The espresso was born in 1822 when Frenchman Louis Bernard Rabaut invented a machine that forced hot water through the coffee grounds instead of leaving it to drip through."

"Louis Rabaut...Now we use his invention to create the fanciful espresso drinks so many of us crave." — Preceding unsigned comment added by Mauricco (talk • contribs) 13:29, 7 July 2023 (UTC)

 * Hello Mauricco, wouldn't you have a link to your two quotes and on which page exactly is this written? Unfortunately, I do not have access to these two books. But let's discuss its origin, yes in 1822 a Frenchman tried to pass a steam-water mixture through ground coffee under pressure, but the result of such an experiment is unknown, since no working models were created at that time,1 yes theoretically, he contributed to the creation of a prototype of future espresso machines, but it was far from practical use. Angelo Moriondo’s invention (1884) and other coffee machines which (although still distant from the first espresso machines) provided an instant coffee that was not yet prepared into the cup (specifically for the customer on request), but was made in large quantities into container. Moriondo also never fully commercialized his invention.2 In 1901, Luigi Bezzera perfected the steam coffee machine and patented his invention, making it much more compact and practical, which sped up the process. It was very similar to the one still used today due to the presence of the filter holder with one or more spouts and a system for attaching it to the central body of the machine, which marked the birth of espresso coffee, made expressly on the spot and rapidly at the customer’s request into the cup.3 This coffee machine made it possible to prepare coffee in cafes and restaurants. The machines became widespread and with them the word espresso soon became synonymous with strong Italian coffee.4 The 1906 Milan Fair stand featured the words ‘Espresso Caffè’ in huge letters, the term espresso for coffee prepared in this way was used for the first time on this occasion.5 Therefore, it is known that espresso is coffee-brewing method of Italian origin.6,7 Best regards Jirka.h23 (talk) 13:16, 8 July 2023 (UTC)
 * Thank you for your reply.
 * I don´t have another link, I can see a preview of this books and copy-pasted the exact quotes.
 * Of course the technique of making espresso evolved with time but it started in France. In the article there is a mention of another Frenchman, Edouard Loysel de Santais, you can read in the references that the coffee he was making was directly made in an individual cup, like modern machines, and that before Bezzera.
 * These coffee were already called espresso (express) and used the steam. I think it is enough to consider the contribution of France in this beverage. Mauricco (talk) 19:55, 8 July 2023 (UTC)
 * No from the sources in the article you can read that Santais machine could make 2000 cups of coffee in one hour, but it apparently brew into the pot, anyway the device was still "too complicated and difficult to operate to have any lasting influence on puiblic coffee making". Also, the machine did not use steam to directly force water through the coffee, but rather to raise the water to a height above the coffee. Anyway, the use of the machine soon faded away. As it is written in the same source: It wasn't until 1901 in Italy that the first commercial espresso-making machine was manufactured, when Bezzera patented a single-cup espresso-machine. Jirka.h23 (talk) 11:55, 10 July 2023 (UTC)
 * The machine of Bezzera is also very different from the modern ones. There are all precursors, I don't understand why you choose to ignore the contribution of one country in particular. Mauricco (talk) 14:06, 13 July 2023 (UTC)
 * I don't know what else to say, I'll have to repeat myself (in inventions we could go as far as who invented steam heating or the first preparation of coffee). From the sources already provided you can read that: Bezzera's machine was very similar to the one still used today, which marked the birth of espresso coffee, made expressly on the spot and rapidly at the customer’s request into the cup, made it possible to prepare coffee in cafes and restaurants, they became widespread and with them the word espresso soon became synonymous with strong Italian coffee, it wasn't until 1901 in Italy that the first commercial espresso-making machine was manufactured. Therefore, espresso is coffee-brewing method of Italian origin. French didn’t invent the espresso machine or develop any groundbreaking techniques (even the origins of the French press are in dispute).1 Anyway both French and Italian have argued about the origins of the coffee brewer.2
 * But I understand what you're saying, maybe we could add some sentence like this: "The French also made a significant contribution to the invention of the first coffee makers and café culture."? Jirka.h23 (talk) 16:14, 17 July 2023 (UTC)
 * Hi Jirka.h23,
 * I consider the French machines as espresso machines because they use steam, they work fast and the drink they make was called espresso (café express). The continuity is clear and that is why they can be considered as the origin of espresso, even if changes were made after. So there are not simple "coffee makers" as you said.
 * I let you the final word, if you want to add a sentence that consider my view I will be happy, if not, it was nice to exchange with you about this interesting topic :). Mauricco (talk) 09:56, 18 July 2023 (UTC)
 * Interesting that only in France, Espresso is also called "Expresso", in my country, Italy and English-speaking countries it is considered as a nonsense,1 this probably then leads to speculation about the origin. Anyway, I added the mentioned sentence to the introduction.Jirka.h23 (talk) 13:53, 26 July 2023 (UTC)
 * The history here is pretty complicated. From an article I read today: "If we rely on the authority of available patents, the principle of using steam to push water through ground coffee is certainly a German invention, dating back to 1818." Maybe what we need to do is have a section on German and French precursors and then move on to the Italian contribution, which is creating and popularizing the final version. Jcbutler (talk) 16:55, 5 April 2024 (UTC)
 * Title: La prima macchina da caffè con funzionamento a vapore è stata inventata da un italiano (English: "The first coffee machine with steam operation was invented by an Italian"). Text: È del 1855 la prima macchina da caffè espresso, presentata in Francia, ma è solo nel 1901 che l’ingegnere milanese Luigi Bezzera introduce la prima macchina da caffè con funzionamento a vapore, che si avvicina quindi a quella che siamo abituati oggi a vedere nei bar. Questo brevetto è fondamentale perché spalanca le porte alle innovazioni nell’immediato futuro: comincia un circolo virtuoso che si combatte a colpi di brevetti. La battaglia ci vede molto coinvolti come italiani, con molte aziende, architetti e ingegneri che dedicheranno il loro genio per migliorare il modo di preparare il caffè. (English: "The first espresso machine was introduced in France in 1855, but it was only in 1901 that the Milanese engineer Luigi Bezzera introduced the first steam-powered coffee machine, which is therefore close to the one we are used to seeing today in bars. This patent is crucial because it opens the door to innovation in the immediate future: it starts a virtuous circle that is fought with patent blows. The battle sees us very much involved as Italians, with many companies, architects and engineers who will dedicate their genius to improving the way coffee is made."). JacktheBrown (talk) 16:09, 26 May 2024 (UTC)

Wiki Education assignment: English 102 Section 5
— Assignment last updated by Taty2004 (talk) 07:12, 12 March 2024 (UTC)

10.07.2024
Dear @Jirka.h23,

Regarding the origin of espresso, I would not consider 1901 as the definitive year of its apparition. As described in the article, there were many steps in the development of espresso, and 1901 may exclude earlier contributions from Moriondo and others, which seems unfair. The history of espresso involves contributions from inventors in Germany, France, England, and other parts of Europe, not just Italy. I would suggest changing the place of origin to Europe, rather than restricting it solely to Italy, as that would deny the contributions of many inventors. Sapsby (talk) 08:40, 10 July 2024 (UTC)
 * Hello Sapsby, we have already addressed this above. I don't think the article denies the contributions of the previous inventors, it is described in the Precursors paragraph. As it is sourced: It wasn't until 1901 in Italy that the first commercial espresso-making machine was manufactured, when Bezzera patented a single-cup espresso-machine. Espresso is coffee-brewing method of Italian origin.1,2.
 * Another thing, I don't know why you deleted my post about the Santais machine, you justified it by saying how the device had a huge impact. Can you cite sources that claim that it had a huge impact on public? In both sources it is written, that the machine produced many drinks at once, and was too complicated for users, so disappeared very soon.Jirka.h23 (talk) 12:41, 10 July 2024 (UTC)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Talk:Espresso


text:
Rex Harrison

Sir Reginald Carey "Rex" Harrison (5 March 1908 – 2 June 1990) was an English actor. Harrison began his career on the stage in 1924. He made his West End debut in 1936 appearing in the Terence Rattigan play French Without Tears, in what was his breakthrough role. He won his first Tony Award for Best Actor in a Play for his performance as Henry VIII in the Broadway play Anne of the Thousand Days in 1949. He returned to Broadway portraying Professor Henry Higgins in My Fair Lady (1956) where he won the Tony Award for Best Actor in a Musical. In addition to his stage career, Harrison also appeared in numerous films. His first starring role was opposite Vivien Leigh in the romantic comedy Storm in a Teacup (1937). Receiving critical acclaim for his performance in Major Barbara (1941), which was shot in London during the Blitz, his roles since then included Blithe Spirit (1945), Anna and the King of Siam (1946), The Ghost and Mrs. Muir (1947), Cleopatra (1963), My Fair Lady (1964), reprising his stage role as Henry Higgins which earned him the Academy Award for Best Actor, and the titular character in Doctor Dolittle (1967).

In 1975, Harrison released his first autobiography. In June 1989, he was knighted by Queen Elizabeth II. He was married six times and had two sons: Noel and Carey Harrison. He continued working in stage productions until shortly before his death from pancreatic cancer in June 1990 at the age of 82. His second autobiography, A Damned Serious Business: My Life in Comedy, was published posthumously in 1991.

Early life
Reginald Carey Harrison was born on 5 March 1908 at Derry House in Huyton, Lancashire, the son of Edith Mary (née Carey) and William Reginald Harrison, a cotton broker. From the age of 10 he went by the name “Rex”, which he adopted for himself. He was the youngest of three children and had two older sisters, Edith Marjorie Harrison (1900-1976) and Sylvia Sackville, Countess De La Warr, DBE (1903-1992). He was educated at Birkdale preparatory school and Liverpool College. After a bout of childhood measles, Harrison lost most of the sight in his left eye. He showed an early desire to become an actor, with regular appearances in school plays, and visits to the Liverpool Playhouse.

Stage career
Harrison first appeared on stage in 1924 in Thirty Minutes in a Street at the Liverpool Playhouse, when he was 16 years old. He remained there, playing small parts, until 1927 when he joined a touring production of Charley's Aunt. Six years of touring and repertory followed. He achieved critical acclaim for Heroes Don't Care in 1936. His West End debut in the same year was in Terence Rattigan's French Without Tears which proved to be his breakthrough stage role as a leading light comedian. His acting career was interrupted by World War II, during which he served in the Royal Air Force (1942–1944), reaching the rank of Flight Lieutenant.

He alternated appearances in London and New York in such plays as Bell, Book and Candle (1950), Venus Observed, The Cocktail Party, The Kingfisher and The Love of Four Colonels, which he also directed. He won his first Tony Award for his appearance at the Shubert Theatre as Henry VIII in Maxwell Anderson's play Anne of the Thousand Days and international superstardom (and a second Tony) for his portrayal of Henry Higgins in the 1956 stage musical My Fair Lady, where he appeared opposite Julie Andrews.

Later appearances included a 1984 appearance at the Haymarket Theatre with Claudette Colbert in Frederick Lonsdale's Aren't We All?, and one on Broadway at the Brooks Atkinson Theatre presented by Douglas Urbanski, at the Haymarket in J. M. Barrie's The Admirable Crichton with Edward Fox. He returned as Henry Higgins in the revival of My Fair Lady directed by Patrick Garland in 1981.

Having retired from films after A Time to Die in 1983, Harrison continued to act on Broadway and the West End until the end of his life, despite suffering from glaucoma, painful teeth, and a failing memory. Later roles included Julius Caesar in Caesar and Cleopatra, and General Burgoyne in a Los Angeles production of The Devil's Disciple. He was nominated for a third Tony Award in 1984 for his performance as Captain Shotover in the revival of George Bernard Shaw's Heartbreak House. He followed with two successful pairings with Claudette Colbert, The Kingfisher in 1985 and Aren't We All? in 1986. In 1989, he appeared with Edward Fox in The Admirable Crichton in London. In 1989/90, he appeared on Broadway in The Circle by W. Somerset Maugham, opposite Glynis Johns, Stewart Granger, and Roma Downey. The production opened at Duke University for a three-week run followed by performances in Baltimore and Boston before opening 14 November 1989 on Broadway.

Film career
Harrison's film debut was in The Great Game (1930) and he had a bit part in The School for Scandal (1930).

He had support roles in Get Your Man (1934), Leave It to Blanche (1934), and All at Sea (1935), and a better part in Men Are Not Gods (1936) as a reporter in love with Miriam Hopkins; this was the first time Harrison worked for Alexander Korda.

Leading man
Harrison's first starring role was in the romantic comedy Storm in a Teacup (1937), opposite Vivien Leigh, for Korda. He starred in School for Husbands (1937) then reteamed with Leigh in St. Martin's Lane (1938).

Harrison had a key support role in The Citadel (1938) for MGM and starred in a comedy for Korda, Over the Moon (1939) alongside Merle Oberon. He starred in some thrillers: The Silent Battle (1939), Ten Days in Paris (1940) and Night Train to Munich (1940), the latter directed by Carol Reed and co starring Margaret Lockwood.

Harrison played Adolphus in Major Barbara (1941)—filmed in London during The Blitz of 1940, a role for which he received critical acclaim, and a success at the British box office. He was then absent from screens due to war service (1942–1944).

Harrison returned to movies with the lead in Blithe Spirit (1945), from the play by Noël Coward and directed by David Lean. Coward described him as "The best light comedy actor in the world—except for me."

Harrison appeared opposite Anna Neagle in I Live in Grosvenor Square (1945) which was another big hit. Also popular was The Rake's Progress (1946), directed by Sidney Gilliat.

20th Century Fox
Harrison received an offer from 20th Century Fox to star in Anna and the King of Siam (1946) in Hollywood. Harrison signed a long term contract with Fox.

Anna was popular, as was The Ghost and Mrs. Muir (1947) with Gene Tierney and The Foxes of Harrow (1947) with Maureen O'Hara. Escape (1949) reunited Harrison with Joseph L. Mankiewicz who had made Ghost and Mrs Muir.

Return to England
Back in England, he appeared in The Long Dark Hall (1951) opposite his then wife Lilli Palmer. They co-starred in an adaptation of The Four Poster (1952).

In Hollywood, he made his first action film, the medieval epic King Richard and the Crusaders (1954) playing Saladin.

In England, Harrison was in The Constant Husband (1955) for Sidney Gilliat and British Lion. It was a hit at the box office.

America
Harrison was offered top billing in MGM's The Reluctant Debutante (1958) alongside his wife Kay Kendall.

He co-starred opposite Doris Day in Midnight Lace (1960) and Rita Hayworth in The Happy Thieves (1961).

Harrison received an offer from Joseph L. Mankiewicz to play Julius Caesar in the 20th Century Fox epic Cleopatra (1963).

In 1964 Harrison reprised his 1956 stage performance as Henry Higgins in My Fair Lady, for which he won an Oscar for Best Actor.

He was one of several stars in the popular The Yellow Rolls-Royce (1964), and played the Pope opposite Charlton Heston in Fox's The Agony and the Ecstasy (1965), for Carol Reed.

Harrison starred in 1967's Doctor Dolittle. At the height of his box office fame after the success of My Fair Lady, Harrison proved a temperamental force during production, demanding auditions for prospective composers after musical playwright Leslie Bricusse was contracted and demanding to have his singing recorded live during shooting, only to agree to have it re-recorded in post-production. He also disrupted production with incidents with his wife Rachel Roberts and deliberate misbehavior, such as when he intentionally moved his yacht in front of cameras during shooting in St. Lucia and refused to move it out of sight due to contract disputes. Harrison was at one point temporarily replaced by Christopher Plummer, until he agreed to be more cooperative. Harrison was not by any objective standards a singer (the talking on pitch style he used in My Fair Lady was adopted by many other classically trained actors with limited vocal ranges); the music was written to allow for long periods of recitative, or "speaking to the music". Nevertheless, "Talk to the Animals", which Harrison performed in Doctor Dolittle, won the Academy Award for Best Original Song in 1967. In a rare coincidence the very next year his son Noel Harrison sang the song that won the Academy Award for Best Original Song, The Windmills of Your Mind in 1968.

Harrison reunited with Mankiewicz in The Honey Pot (1967), a modern adaptation of Ben Jonson's play Volpone. Two of his co-stars, Maggie Smith and Cliff Robertson, were to become lifelong friends. Both spoke at his New York City memorial at the Little Church Around the Corner when Harrison died in 1990.

Harrison made two more films for 20th Century Fox, both expensive play adaptations that failed at the box office: A Flea in Her Ear (1968), and Staircase (1969).

Later film career
After a break from screen acting, Harrison appeared in The Prince and The Pauper (1977) and a Hindi film Shalimar alongside Indian Bollywood stars Dharmendra and Zeenat Aman. He had small roles in Ashanti (1979), The Fifth Musketeer (1979) and A Time to Die (shot 1979), his last film.

Personal life
Alexander Walker wrote: "in looks and temperament, Rex went back to the Elizabethans. They would have called him 'a man of passionate parts'. His physique and looks were far more striking once middle age had literally stretched too smooth and callow a youthful face into a long, saturnine physiognomy, whose hooded eyes and wide mouth had satyr-like associations for some people."

Harrison was married six times. In 1942, he divorced his first wife, Noel Margery Colette Thomas, and married actress Lilli Palmer the next year; they later appeared together in numerous plays and films, including The Four Poster. Whilst married to Palmer, he built a villa at Portofino, San Genesio, where over the years he hosted showbiz royalty including Laurence Olivier and John Gielgud and real ex-royalty in the Duke of Windsor and his wife.

In 1947, while married to Palmer, Harrison began an affair with actress Carole Landis. Landis took her own life in 1948 after spending the evening with Harrison. Harrison's involvement in the scandal by waiting several hours before calling a doctor and police briefly damaged his career and his contract with Fox was ended by mutual consent.

In 1955, Harrison starred opposite Kay Kendall in The Constant Husband, and they had an affair. When he learned that Kendall had been diagnosed with myeloid leukaemia, he and Palmer agreed to divorce so that he could marry Kendall and provide for her care. Harrison and Palmer divorced in 1957 and he married Kendall the same year. Kendall died of myeloid leukaemia in 1959. Terence Rattigan's 1973 play In Praise of Love was written about the end of this marriage, and Harrison appeared in the New York production playing the character based on himself. Rattigan was said to be "intensely disappointed and frustrated" by Harrison's performance, as "Harrison refused to play the outwardly boorish parts of the character and instead played him as charming throughout, signalling to the audience from the start that he knew the truth about [the] illness." Critics however were quite pleased with the performance and although it did not have a long run, it was yet another of Harrison's well-plotted naturalistic performances.

He was subsequently married to Welsh actress Rachel Roberts from 1962 to 1971. Harrison then married Elizabeth Rees-Williams, divorcing in 1975; finally, in 1978, he married Mercia Tinker, his sixth and final wife. In 1980, despite his having married twice since their divorce, Roberts made a final attempt to win Harrison back, which proved to be futile; she took her own life that same year.

Harrison's eldest son Noel Harrison became an Olympic skier, singer, and occasional actor; he toured in several productions including My Fair Lady in his father's award-winning role; Noel died suddenly of a heart attack on 19 October 2013 at age 79. Rex's younger son Carey Harrison is a playwright and social activist.

Harrison's sister Sylvia was married to the 1st Earl of Kilmuir (better known to history as Sir David Maxwell Fyfe), a lawyer, Conservative politician and judge who was successively the lead British prosecutor at Nuremberg, Home Secretary and Lord Chancellor (head of the English judiciary); after his death she married another Cabinet minister, the 9th Earl De La Warr.

Chronology of Harrison's six marriages:
 * Noel M Colette-Thomas, 1934–1942 (divorced); one son, the actor/singer Noel Harrison, (29 January 1934 – 19 October 2013)
 * Lilli Palmer, 1943–1957 (divorced); one son, the novelist/playwright Carey Harrison (born 19 February 1944)
 * Kay Kendall, 1957–1959 (her death)
 * Rachel Roberts, 1962–1971 (divorced)
 * Elizabeth Rees-Williams, 1971-1975 (divorced)
 * Mercia Tinker, 1978–1990 (his death)

Grandchildren:
 * Granddaughters: Cathryn, Harriott, Chloe, Chiara, Rosie, Faith
 * Grandsons: Will, Simon, Sam

Harrison owned properties in London, New York City and Portofino, Italy. His villa in Portofino was named San Genesio after the patron saint of actors.

Death
Harrison died from the effects of pancreatic cancer at his home in Manhattan, New York City, on 2 June 1990 at the age of 82. He had been diagnosed with the disease only a short time before. The stage production in which he was appearing at the time, The Circle, came to an end upon his death.

His body was cremated, some of his ashes being subsequently scattered in Portofino, and the rest being scattered at his second wife Lilli Palmer's grave at Forest Lawn Memorial Park in Glendale, California, in the Commemoration section, Map 1, Lot 4066, Space 2.

Harrison's second autobiography, A Damned Serious Business: My Life in Comedy, was published posthumously in 1991.

Honours and legacy

 * On 17 June 1989, Harrison was knighted by Queen Elizabeth II at Buckingham Palace.

 * Rex Harrison has two stars on the Hollywood Walk of Fame, one at 6906 Hollywood Boulevard for his contribution to films, and the other at 6380 Hollywood Boulevard for his contribution to television. Harrison is also a member of the American Theater Hall of Fame. He was inducted in 1979.

Recognition
Seth MacFarlane, creator of the animated series Family Guy, modelled the voice of the character Stewie Griffin after Harrison, following seeing him in the film adaptation of My Fair Lady.

Ex-CIA chief of disguise Jonna Mendez stated in 2019 that a mask of Harrison was used by multiple CIA agents for covert work. The moulds of his face were larger and so could fit over a smaller agents face. The molds were made from aluminium and bought from Hollywood film facilities. She mentioned that his likeness was "taking part in a lot of operations". According to Mendez, Rex Harrison's aluminium facial props mold was used as a baseline for over-the-head masks that the agency would create and use operationally. The masks came in small, medium and large sizes, with Rex's mold becoming the agency's standard "large" size. Subsequently, many undercover operatives' real identities were disguised by masks bearing Rex's facial features.

title: Rex Harrison