We’ve all been brought up watching and enjoying the 1968 film version of Lionel Bart’s adaptation of Charles Dickens’ Oliver Twist, and for a musical that is over 50 years old, it has aged incredibly well. Originally premiering as a stage musical in 1960 at the Wimbledon Theatre, Oliver! has gone from strength to strength, achieving heights of popularity across generations.

Masquerade’s latest production of it at the Mediterranean Conference Centre, the best venue for this type of musical, has delivered much more than any promise of excellence and confirms that Masquerade, under the direction of Anthony Bezzina, consistently delivers outstanding professional performances of a calibre equal to West-End shows.

My single regret and criticism is that fantastic shows like these do not have the much longer runs that they deserve, because this show is addictively re-watchable.

A big shout out goes to the creative and production teams who make all the magic possible – and indeed this show was properly magical – thanks to their sheer dedication to putting on a spectacular production.

A big shout out goes to the creative and production teams. Photo: Viktor Vella

Director Anthony Bezzina and musical director Kris Spiteri had great teams to work with – from an orchestra of well-respected musicians, Tina Gatt Frendo’s vocal coaching and Valarie Burke’s choreography to Romualdo Moretti’s excellent set design and Simona Mamo’s meticulous costumes. Finishing off the visual magic were hair by Michael and Guy and make up by Krista Paris.

Moving from just a feast for the eyes to the incredible performances we saw on stage, the vocal prowess of every single member of this meticulously chosen cast was outstanding. The night I happened to be watching, the part of Oliver was played by the incredibly talented Matthias Zarb, who shared the part with Jamie Sciberras.

Zarb gave an incredibly mature and nuanced performance as the young, orphaned boy and his solo performance of Where is Love? was beautiful. Equally hauntingly stunning was Nancy, played to perfection by Dorothy Bezzina, who sang As Long as He Needs Me, which made the most of her operatic tonalities. The excellent Cliff Zammit Stevens as Mr Bumble sang the poignant Boy for Sale countered with a strong clear tenor which drove the harsh realities of the workhouse and its mistreatment of children straight to the heart.

The vocal prowess of every single member of this meticulously chosen cast was outstanding

Kateriana Fenech’s incredibly powerful operatic voice as Widow Corney, accompanied Zammit Stevens in their rendition of I Shall Scream!, while the inimitable Paul Portelli and Katherine Brown doubled in their roles as Mr and Mrs Sowerberry and Mr Brownlow and Mrs Bedwin. Noah Claypole and Charlotte were played by Ben Tonna in good form and an obnoxiously funny Charlotte Formosa while the darkness and violence of Bill Sikes’ character as entrusted to veteran performer Mikhail Basmadjian, who did not disappoint.

It was the showstoppers which, of course, had everybody toe-tapping from the onset, with an extremely talented ensemble of children singing Food Glorious Food, and Fagin’s Gang with Nancy and Bet (played by an energetic Amy Jo Camilleri) singing It’s a Fine Life, I’ll Do Anything and Be Back Soon, accompanying a scintillating Thomas Camilleri as Fagin – who could not have put more thought or vigour in his nuanced and fantastic performance.

Masquerade have outdone themselves once again. Photo: Viktor Vella

Camilleri and Bezzina were truly terrific in their roles and had the audience in the palm of their hands. Gianluca Cilia was a revelation as The Artful Dodger and his Consider Yourself was great fun as it rose to its enjoyably entertaining crescendo, while the children in Fagin’s gang were spot on with their movement and dynamic, right down to little Nipper, played that evening by Elai Abela Borg.

I must say that the deal-closer for me on this particular musical was the company’s rendition of Who Will Buy?, which has been one of my absolute favourite songs from musicals for as long as I can remember and by god did they do it justice.

From the moment Rachel Fabri’s Rose Seller introduced the first verse, followed by Mariosa Pavia’s Strawberry Seller and Joseph Zammit’s Knife Grinder, from the moment they entranced Oliver at his window, they most certainly bewitched me.

When the chorus joined in, I got my goose-bumps moment and that’s when I whispered “flawless”: it was perfectly wrapped in a box, for me. Masquerade have outdone themselves once again. Bravo!