IN AN age when a novel can scarcely be called a classic until it has been adapted as a musical, it is hard to credit the objections that were raised when, in 1960, Lionel Bart added songs and dances to Dickens’s Oliver Twist.
IN AN age when a novel can scarcely be called a classic until it has been adapted as a musical, it is hard to credit the objections that were raised when, in 1960, Lionel Bart added songs and dances to Dickens’s Oliver Twist.