Reworking a classic story is not a new concept in the theatre world. Just ask the creators of Wicked or West Side Story. Taking something that audiences are already familiar with and turning it on its ear can be quite a task and is not without its challenges. First, there are the constant comparisons to the source material (or previous adaptations). Next, there is the daunting task to “reinvent” the plot and bring audiences on a fresh and new journey. But with the ALLIANCE THEATRE’s premiere of Twist - an American Musical (a modern, American take on Charles Dickens’ Oliver Twist) they beat the odds and have created a magical tapestry of music, story and life that, even with a classic tale at its heart, feels like a something completely new.
The story of Twist is a tale of identity, belonging and family and was written by the Tony nominated William F. Brown (The Wiz). It follows the life of a young orphan, named Twist (the thoroughly talented 10 year old Alaman Diadhiou) who struggles with acceptance among his peers and among the adults that inhabit his world of “the Paris of the South” - 1928 New Orleans. What makes him so different is the fact that his father (Jared Grimes) was black and his mother (Aijia Lise) was white, making him something of an enigma among the community at the time. Not claimed by either group, Twist is treated as an outcast and tossed about from orphanage, to the ownership of a creepy funeral director (deliciously played by Tracy Kennedy), to a ragtag group of street urchins, and eventually the warm and caring home of local lawyer Mr. Prudhomme (E. Wade Benson).
Throughout his journey, Twist encounters a mélange of lively characters that help (or hinder) him along his way. Standouts include the cruel orphanage owners Potlatch and Miss Cotton (Paul Aguirre and Shawna M. Hamic), Twist’s evil, weasel of an uncle Lucius (Pat McRoberts), the beautiful and severely talented Della (Olivia-Diane Joseph) and her scheming beau Boston (Matthew Johnson).
Not surprisingly, the real star of this show is the dancing, originating from the mind of the incomparable director and choreographer Debbie Allen. Each number is infused with a clear sense of energy and motion encompassing a wide range of dance techniques, from ballet, tap and jazz to African-influenced dance. Standout numbers include the hyper-energetic opening number (“Back By Demand”), a rhythmically challenging but catchy number featuring wooden spoons (“Meat on the Bones”), a mesmerizing and haunting number featuring the voodoo infused spirits and spooks in “The Coffin Room” and a classic New Orleans celebration of Mardi Gras featuring numerous different “talents” including African dancers, a Josephine Baker lookalike and too many revelers to count.
