Introduction

The opening scene of Oliver Twist, a play attributed to George Almar but which has no author's name on the title-page, exemplifies the general strategies of adapters. In particular, it highlights the shadowy figure of Monks, restructuring the narrative in order to solidify the "lost heir" plot — in other words, Act One, Scene One, represents an adaptor's attempt to improve upon the original serial novel by focussing on the chief plot by introducing all three antagonists (Fagin, Sikes, and Monks) at the same time. The closing speech of this scene demonstrates the strong influence of melodrama on the theatrical style of Victorian adaptations of popular fiction. This transcription supplements the scene of Nancy's death in "Early dramatic adaptations of Oliver Twist (1838-1842)." I have based my transcriptions on the nineteenth-century text in Special Collections at the University of Victoria.

The scene as represented in this transcription probably reflects the version of the George Almar play that was part of the triple-bill Constantia, the Venetian Maid, Oliver Twist, and Jack Sheppard [based on the novel by William Harrison Ainsworth] performed at the Royal Victoria Theatre, 25-30 August 1856.

Another text, also purportedly by Almar, Oliver Twist A Serio Comic Burletta in Four Acts (French's Standard Drama, No. 228) "As performed at The Winter Garden" in New York City (7 March 1861) begins very differently, in the house of Mrs. Corney, in which Bumble courts the apparently comfortably off widow. When their discussion turns towards parochial apprentices, the couple call to mind the birth of Oliver and the death of his mother, "a poor pale-faced, ladyfied-looking girl" (5) some fifteen years earlier, events specifically recalled as a result of the announcement of the death of Old Sally, who attended the birth. The scene then shifts in scene 2 to the kitchen at the Sowerberrys'.

Whereas the three-act script published as French's No. 128, Duncombe's No. 29, and Lacy's waits until the third act to bring Monks into the action, when he induces the Bumbles to destroy the evidence of Oliver's origins, Almar dispenses entirely with the workhouse opening of the novel and introduces Monks simultaneously with Sikes and Fagin as the criminal mastermind narrates the death of Oliver's mother and the circumstances of the boy's birth.

In order to make Fagin's narration of Oliver's birth somewhat plausible, the adaptor has had to transfer the location of the workhouse from the fictional "Mudfog" seventy miles north of London to Greenwich, down river from Whitechapel. As a result of the formation of the Greenwich Poor Law Union on 18 November 1836, the newly elected Board of Guardians, twenty men representing four constituent parishes, gained oversight over the operations of the workhouse of St. Nicholas at Deptford (population 6,036). The narrative within the narrative, that of the old pauper woman who has just sold Fagin the gold watch, is still highly implausible, given Monks's interest in the watch and the impending arrival of Oliver. Since the cast list for this production mentions Master Owen in the role of Oliver, this would likely be the play produced in November 1838, a play which Bolton ascribes to George Almar rather than to C. Z. Barnett. The dramatist responsible for this scene certainly seems to have had Shakespeare's Macbeth in mind, for the language reflects archaic usage and the plotting general's mulling over the threats that young Macduff and Fleance, Banquo's son, pose him.

Act One, Scene One

The interior of the "Three Cripples." BILL SIKES, FAGIN, the DODGER, and CHARLEY BATES discovered. FAGIN is seated at a table by himself, gazing at a small watch, SIKES is examining a bludgeon, and on his right are the DODGER and BATES, the one smoking a pipe, the other drinking.

Fagin:

'Tis gold! — read — real gold! By my life, a bargain!

Sikes:

What are jawing about, Fagin?

Dodger:

Why, don't you know, Bill? Fagin's got a bargain, and he's overjoyed, that's all.

Sikes:

Who has he been swindling, the old thief?

Fagin:

No one, my tear — no one, Mishter Sikes. An old paper met me in the street just now, and sold me this watch.

Sikes:

And how should a pauper have a watch?

Fagin:

It was given her by a woman she attended who was sick, fourteen years ago. But I'll tell you all about it, if you come closer to me.

(SIKES approaches FAGIN. At the same moment MONK enters without their perceiving him; his manner is distracted and gloomy; he sinks into a chair behind, takes up a newspaper and reads, but presently lays it down to listen to FAGIN'S tale.)

Sikes:

No, Fagin — go on.

(During this dialogue the DODGER and BATES amuse themselves by playing at cards.)

Fagin:

About fourteen or fifteen years ago, said the ould pauper, one stormy night, a loud ringing at St. Nicholas' Workhouse gates aroused the inmates. When the gate was opened, two men entered carrying a woman, who seemed exhausted and dying. They had discovered her in the high road, sinking and worn out with fatigue and want. She was a good-looking girl, and must have walked far, for her shoes were torn to pieces. [9/10] Within three hours of her being brought there, she gave birth to a male child and expired. As a reward for her services, she gave the woman who attended her this watch.

(MONK [sic] listens attentively to this recital, which seems to interest him.)

Sikes:

Or else the beldame stole it — eh, Fagin?

Fagin:

Can't say — can't say, indeed.

Sikes:

But what became of the child?

Fagin:

He still lives — is at the workhouse, and I think they call him Oli—Oliver — yes, Oliver — Oliver Twist!

Sikes:

Oliver Twist! — that's a rummy name. (turns and perceives MONKS) Ha! a stranger.

Fagin:

'Tis no stranger; 'tis my very good friend Monks. Good day, Mr. Monks — good day.

Monks:

Fagin, I am glad to see you. I overheard your tale — that trinket — let me see it.

Fagin:

Yes, yes, Mr. Monks, in a moment — there is a cypher on it — "H. B. The gift of a fond father."

Monks:

Those initials too! — Give it me! (takes it) That cypher! By heaven I was not deceived! — 'twas hers — 'twas hers! (sinks into a chair, FAGIN approaches him)

Fagin:

You knew the owner of this watch, then?

Monks:

Knew her? Would I ne'er had seen her — I had then been a crimeless man. Knew her? Oh, Heaven! Quick — take this watch — it seems to sear me like a red hot iron! Take it — take it — it is pain to gaze upon it!

Fagin:

What means this?

Monks:

Ask me nothing — I can answer nothing — thoughts of the past torture me! Give me some brandy — quick — some brandy, I say! (SIKES offers him a glass, he drinks, and snatches up the newspaper again)

Sikes:

There's some'at wrong in his upper story, or I'm no cfracksman.

Monks:

Damnation — 'tis here again! Must I be ever haunted thus, and reminded of the past? Yet, hold — this may be of service — I may rid me of my fears. 'Tis but one bold strole and all may yet be well. (comes forward with newspaper) Fagin, read that.

Fagin:

(takes paper) An advertisement by the Board of St. Nicholas' Workhouse, offering a premium of five pounds to any tradesman who will take Oliver Twist, a parish orphan, as an apprentice./p>

Monks:

Fagin, that boy's fate is deeply involved with mine. Get him in your power, and you shall have a hundred pounds.

Fagin:

And what would you do with him, Mr. Monks?

Monks:

No harm — no harm — but we must have him in our power.

Fagin:

You want to have this boy in your power? Vell, I see the vay — it shall be done. Dawkins! Bates! (They rise and come forward. To work! ye have been idle long enough. Not a handkerchief — not a watch, or pocket-book, or anything these three days. To work — to work, ye lazy dogs? Honest folks, like me, are obliged to work hard — why not ye?

Bates:

Oh, my eye! What a jolly row that ere Fagin's kicking up about nothin'.

Dodger:

I'm sure we're two as 'dustrious covies as ever nimmed a ticker, or fenced a sneezer — so don't go for to hurt our feelings any more by such injestice. Don't, Fagin, 'cause we are 'ceptible, and don't like it.

Sikes:

Come, stow your gammon and cut, you young savages!

Dodger:

I say, Sikes — you are a rum'un, and no mistake.

Bates:

By-bye, Fagin. "We soon shall meet again," as the man said the other night at the threeatre.

(They exeunt arm-in-arm; DODGER with a pipe, BATES with a cigar.

Fagin:

One hundred pounds, you say, if we succeed in getting the boy?

Monks:

Yes — I have said it.

Fagin:

Enough. Sikes, come with me; you shall be the boy's master. Yes, yes — 'twill do. Monks, come to my crib to-night, and you shall find Oliver Twist there. Ah, 'tis a notable scheme! 'twill do — 'twill do! Come with me, Sikes, and I will tell you what to do. Good day, Mr. Monks.

Sikes:

Don't forget — Fagin's crib — to-night at twelve[,] remember.

(Exeunt FAGIN and SIKES.).

Monks:

Yes,'tis well — the boy once in my power, all chance of his being recognized and claimed will be at an end, and my many fears at rest. I might then with one blow rid myself of him — but, no, no — I dare not murder him. Her child, too! And thy child, proud woman, is there, badged and ticketed — a parish child — the orphan of a workhouse — the humbled half-starved drudge — cuffed and buffetted through the world — despised by all, and pitied by none. Oliver Twist! 'Tis a good name. May he never live to bear another. (Exits.)

Related material, including portions of the 1838 adaptation of Oliver Twist, possibly by George Almar


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Last Modified 6 March 2016