Backstage with... Simon Lipkin

When did you first experience Oliver! as a musical?
My parents took me to see the Cameron Mackintosh production (directed by Sam Mendes) at the Palladium in 1994, starring Jonathan Pryce as Fagin. My dad asked me if I wanted to be Oliver or the Artful Dodger, but it was always Fagin for me, even at such a young age. I've always connected to comedic characters who are flawed and have a dramatic side. That's what makes them so exciting.

How did you get involved in this production?
When I was approached, I thought it would be for Bill Sikes, who I've played before — but then I found out it was for Fagin. I spent a few hours with Cameron, Matthew Bourne, and co-director Jean-Pierre van der Spuy playing around with the material and what I’d want to do with it. My first lead role was in Avenue Q when I was 19, which was co-produced by Cameron, who really took a chance on me. He said: 'I feel as if I introduced you to the West End as a young man.' Fagin feels like a real adult part and the next stage of my career.

How have you navigated stereotypes in your portrayal of Fagin?
The original novel has been criticised for antisemitism, though Charles Dickens did listen to criticism and revised some of the language. Lionel Bart was Jewish, and so am I, and proudly so. I want to celebrate that joy in my performance. Fagin is a criminal with a complicated emotional make-up, but that’s not because he’s Jewish. Jewish people are incredibly good at laughing at themselves and being self-aware — it's a real trait of our culture. However, many of the actors who have played Fagin in the past have not been Jewish, and it’s that slightly under-researched quality that tends to perpetuate the wrong stereotypes. We've also accentuated the Jewish musicality and klezmer style.

What back story did you create?
He's an immigrant, and I think he arrived in London at around the age of the boys in the show and also had to fight to survive. He’s built a gang of thieves but also a family and has given them a place to live and a purpose. They have love and care from Nancy and Bet. He's dark and has anger and hurt to him but is incredibly funny and charming and loving, with a Peter Pan quality under a dark, Dickensian cloak. I'm also a magician and have brought those skills into my performance.

What is it like working with Matthew Bourne?
He is amazing, and you can see why he's such a genius. I expected him to come at me with lots of ideas about characterisation and physicality, but he’s like the most incredible editor. He allows you as a performer to really experiment with what you bring to the table, and no idea is laughed at or dismissed. He shapes and moulds your ideas and what he gives you as a performer is utter ownership and understanding. My brain is constantly working.

How much of the ad-libbing is improvised at each show?
I have to be strict with myself about this — if I put in a new joke, an old one has to come out so it doesn't get too ‘big’. It makes you evaluate if the new line is good enough to replace what was already there. It should sound ad-libbed and as if it’s happening for the first time.

How do you get into character?
Lez Brotherston has designed an incredible, vibrant costume, and when I put on the garments, the wig, and the make-up, I slowly transform into a Dickensian Captain Jack Sparrow. Because of the way I make my first entrance, I go into the band to dance along in character to Consider Yourself. It's so freeing.

You recently revisited Avenue Q...
It was so exciting to do it again as it was such a special show. The cast included Jon Robyns, Ann Harada, Giles Terera, and Julie Atherton, who also directed the 18th anniversary reunion concert. The whole cast has gone on to do amazing things. Puppetry is hard work on the arms, but it was amazing to be reunited with our human and furry friends. We certainly didn't get to keep the puppets as they're worth a fortune!

Any other plans for 2025?
(Mean Girls star) Georgina Castle and I are getting married! Planning a wedding is so much fun. The love we've received from the theatre industry, as well as from our families and friends, is incredible. Fagin and Regina George — whoever would have thought it!

Oliver! is booking at the Gielgud Theatre, London until 29 March 2026 – for information and tickets, visit oliverthemusical.com

This feature first appeared in the December 2024 issue of Musicals – subscribe today!