‘Oliver!’ fails to hit high notes

The four or five dozen professional musicians picketing the Orange County Performing Arts Center on Tuesday night were clearly serious but politely un-Scrooge-like as theatergoers arrived for the opening of “Oliver!,” a national touring production running at the center through Jan. 2.

At issue is the show’s use of a virtual orchestra, the electronic Sinfonia -- something that is becoming a trend, especially for cost-conscious touring productions.

Carrying signs that read, “What the Dickens? Who took away all the musicians?,” “What would Oliver say? More musicians, please” and “Say no to Broadway karaoke,” the picketers passed out leaflets urging patrons to complain via mail to the center. Some, wearing Santa hats, played jazzy Christmas music on horns and drums.

The musicians were met with sympathy and curiosity. Once inside the theater, many audience members checked out the orchestra pit for themselves, finding that nine or so live musicians would be accompanying the Sinfonia under the energetic guidance of conductor Dominick Amendum.

Does the limitation hurt the show? Well, Amendum and the musicians work hard, and the sound, while a bit thin, gets the job done. There is something missing, however, from this lavish and serviceably performed production of Lionel Bart’s Dickens-based musical. Part of it does seem to be the connective spark that a full orchestra can provide between actors and music, upping the energy and gathering in the audience.

This staging offers many visual treats, including lively choreography; costume designer Anthony Ward’s colorful ensembles, tatters and all; and versatile and highly atmospheric sets (by Adrian Vaux) and lighting design (by Jenny Kagan).

Although the actors don’t stint in their song-and-dance performances, and the familiar songs, well sung, strike a pleasantly nostalgic note, scenes that should reach out to the audience remain oddly self-contained, entertaining but movie-like.

Deeper notes are missed as well, in contrast to impressive visuals. Among the hard-working cast, Shane R. Tanner offers a properly wicked Bill Sikes, but other meanies are too cartoony: Mr. Bumble (David L.J. George), Widow Corney (Gwen Eyster), the members of the undertaker Sowerberry’s household.

Only Renata Renee Wilson wholly transcends the emotional remove with her vivid presence and full-throated performance as hapless Nancy.

Other principals come close: Andrew Blau’s lively Artful Dodger, Mark McCracken’s lanky, comic Fagin, and 9-year-old Ryan Tutton’s impressively ethereal, sweet-voiced Oliver.

This NETworks Presentations touring production is nonunion, which means that its actors are not members of Actors’ Equity, though they are capable and polished.

The show is a descendant of Sam Mendes’ much-lauded 1994 staging for producer Cameron Mackintosh in London, for which Matthew Bourne did the musical staging before his “Nutcracker!” and “Swan Lake” fame.

This version, which began touring last year, was directed by Graham Gill. Geoffrey Garratt adapted Bourne’s staging and contributed additional choreography. William David Brohn did the orchestrations.

*

‘Oliver!’

Where: Orange County Performing Arts Center, Segerstrom Hall, 600 Town Center Drive, Costa Mesa

When: 8 p.m. today, and Monday through Dec. 31; 2 and 8 p.m. Saturday and Jan. 1; 2 and 7:30 p.m. Sunday and Jan. 2

Price: $21.25 to $58.25

Info: (714) 556-2787, www.ocpac.org

Running time: 2 1/2 hours