A contemporary new musical, based on a novel by children’s author Michael Rosen, itself mixed up with a Charles Dickens classic, could contain more twists than fusilli pasta. Musicians Yaya Bey and Conrad Murray tell What’s On how they ended up intertwined with Unexpected Twist, and why young audiences will enjoy the ride, too...

Published in 2018, Unexpected Twist is an intriguing retelling of Oliver Twist by former Children’s Laureate Michael Rosen, one of the best-known and most-loved figures in the world of children’s literature, with nearly 150 books to his name.

The novel twists two stories into one - Rosen’s original and the Dickens classic that inspired it - and focuses on the (mis)adventures of new girl Shona as she struggles to settle in at school. 

That struggle is one which she has in common with Oliver Twist, the boy she’s reading about in her English lessons... 

Rosen’s novel not only draws parallels between the two worlds but weaves text from the Dickens classic into a contemporary setting. And the musical stage adaptation very much follows suit. The show is produced by The Children’s Theatre Partnership, whose previous work includes theatrical renderings of Animal Farm and The Jungle Book. 

Adapted for the stage by BAFTA-winning playwright Roy Williams, Unexpected Twist features original music put together by rising R&B star Yaya Bey and Conrad Murray of BAC Beatbox Academy. 

Yaya says working on the show was a pleasure, and that despite hailing from across the Atlantic and not being familiar with the Dickens original, the story really resonated with her. 

“As a Black American who has only been to London once - and that was to work on the play and do a few of my own shows - I must admit that I don’t know a lot of British things, more the American versions of British stories. I wasn’t sure how I would relate to the story coming from the States, but there is such an emphasis on important issues that transcend culture barriers. 

“I was really interested in it because I wanted to try something new. I also liked the fact it addresses the subject of poverty, which is something that’s universal and familiar to me because I am someone who grew up in poverty and can absolutely speak to that.”

Conrad, who previously worked on the stage version of young-adult book Crongton Knights, says he loved being part of a collaborative team on the project. He draws parallels between Dickens’ tale and the ongoing cost-of-living crisis.

“Working on this show is like assembling The Avengers! The creative team is top-notch and the cast are incredible. I love that it takes Oliver Twist as a story about poverty, which seems to tell a story about our current times. It talks a lot about the struggles people are currently going through.”

Conrad points out how morality is called into question as people hustle and sell drugs in order to put food on the table. He wonders about the effect it has on youngsters.

“Maybe you see your parents doing what they have to do to make money, and that’s actually quite a heroic act, but at the same time you’re taught that maybe some of what they do is bad. That’s quite a lot to take on board. I think young people will recognise the struggles in the play, as will adults. They’ll watch and think ‘We haven’t moved far from what Dickens was writing about centuries ago.’”

Yaya is on the same page and believes the show’s musical elements give it a distinct angle, even though the story is a universal one.

“I think it really speaks to black audiences. It’s got a bunch of hip-hop and R&B sounds, mine and Conrad’s involvement, the subject matter, and the cast. But it’s also a play that speaks about poverty, and that is something which everyone should be concerned about. Everyone should watch it.”

Both artists are convinced that adapting the book into a musical rather than a play will make it more palatable and enjoyable for a younger audience.

“Music always helps to put a story across,” says Yaya. “Music is inviting and makes things more approachable for people, especially in a play like this, which is aimed at youth. Including music in the show makes it more relatable and hooks that young audience in.”

Conrad says that the type of music he makes speaks to that same crowd and works in tandem with Roy Williams’ adaptation, which he describe as “really now”.

“Young people will recognise the characters and the slang, and while a lot of older plays have a middle-class worldview, this is very representative, with black, white and Asian characters on stage that kids will relate to.”

He’s also excited to bring cutting-edge genres of music to the show, which he believes will add an extra dimension to the experience.

“Being able to bring beatbox, hip-hop and grime to the show is sick, as it helps modernise the story and create a new language and theatrical form on the stage. 

“You’d call it beatbox, but we’re recreating genres, so it’s drill, R&B, hip-hop, pop and soul. That’s the mash-up, and it’s quite modern. Sometimes we have a nostalgic flair, but it’s mainly those newer sounds.”

‘New’ and ‘now’ are always key issues for the musician, who believes that not enough contemporary theatre is being made for younger audiences. He feels that the writing and subject matter is often too soft, as producers don’t really know what young people want. 

“It’s about finding those creative voices that young people can relate to or who understand what they might be going through. That’s the big challenge. Sometimes when stories are written for young people, they create worlds that don’t currently exist or have never existed, like fairytales. They may be entertaining, but they’re not rooted in now.”

Despite being based on a text that’s the best part of 200 years old, Conrad believes Unexpected Twist is a step in the right direction.

“I feel like we can push young audiences, which is what the play does. They are exposed to so much stuff now through TikTok, Instagram and blah blah blah, so you can take them a bit further. It can still be beautiful, and it can still be escapism, but we shouldn’t patronise young audiences. 

“This kind of theatre is in many ways the hardest to make because they’re a tough audience and they see through things. That’s why Roy’s script is so good, because his street language feels real and always up-to-date.”

Yaya also believes the content of the play will get an important message across to young people.

“It’s a good start that there is a play about poverty for them to see. Oliver Twist has always existed, but now there’s Unexpected Twist as a new, contemporary way to examine the subject.”

by Diane Parkes