Not all musicals are happy stories, although most have happy endings. “Cabaret” for instance, is set against the backdrop of Hitler’s regime. “South Pacific” takes place during World War II. “Evita,” based on the life of Eva Peron, glamorizes a dictator and “Les Miz” is centered on the French revolution. Not all musicals are frivolous, and even those that seem entirely benign employ a villain or two along the way. After all, who is “Peter Pan” without his Captain Hook?

Charles Dickens’ ("A Christmas Carol") second novel, “Oliver Twist,” was first published in 1837 and centers around an orphaned boy who begins his life in a workhouse and is then sold to an undertaker. Escaping from the horrible people there, he then meets a gang of thieves and juvenile pickpockets led by an elderly lifelong criminal, all of whom sing and dance in traditional musical theatre style. How, one might ask, is this entertaining? And yet “Oliver!,” with music, book and lyrics by Lionel Bart, is one of the most beloved shows of all time, enjoying incredible success on stage in London, on Broadway, on film, and now at the Forestburgh Playhouse, where audiences are standing in line nightly to say “Please sir, I want some more!”

There are many memorable musical numbers, including “Food, Glorious Food,” “Where Is Love,” “Consider Yourself,” and the plaintive “As Long As he Needs Me,” interspersed throughout the gritty portrayal of criminals and thieves and some lighter, comic moments as well. But at the heart of “Oliver” is the cruel and heartless underbelly of the streets of London and the class struggle that still exists today. German Cardenas-Alaminos has designed a stunning set for the show, enhanced by equally effective lighting by Michael O’Connor, all of which serve as a gorgeous backdrop for the drama to unfold onstage.

The cast of characters center around Oliver himself, of course, and Jeremy Michael Lanuti’s portrayal of the waif is splendid. His voice is lovely, his acting spot on, and his ability to wring a tear from the audience is sophisticated beyond his tender years. Lanuti is supported by a large cast of orphans, and in all, 24 local children were selected to be in the show, all of whom sing and dance their hearts out. This particular aspect of the production really thrilled me, and each and every one of the kids is terrific. They shine in the big production numbers and open the show with tremendous energy, which builds in momentum, as the other characters are introduced to the audience. Over-the-top performances by Jefferson Behan (Mr. Bumble) and Liane Zielinski (Widow Corney) pleased the masses more than myself, but their strong voices delivered and they each had their moments. Even though they serve as “comic relief,” I had difficulty rooting for their heartless treatment of the boy, and allowed that to cloud my judgment. For me, the show truly came to life with the introduction of one of the most memorable characters (Artful Dodger) and the show-stopping number “Consider Yourself.” The twist? Dodger is (spoiler alert!) played by a woman, (Kayla Matters), which threw me. Matters has an amazing voice and sparkles, but it took me a few minutes to adjust, being familiar with Davy Jones (Broadway) and Jack Wild’s film interpretations. Kayla is really, really good; therefore I embraced this “twist” and applauded her performance along with the crowd.

Dickens’ characters are dramatic and riveting, even when they are bad to the bone, so I expected nothing less of stars Jonathan Brody, (Fagin) Trista Moldovan (Nancy) and Michael Yeshion (Bill Sykes) all of whom delivered, but some more than others. Brody’s “Fagin” reminded me of “Fiddler on the Roof” and “Tevye” for too long, which I found disconcerting, but the actor is good, and by the second act, I let it go. Moldovan plays the proverbial “whore with a heart of gold” and has to carefully balance being a cutthroat, being abused, and turning her life around in caring for the boy before (spoiler alert!) losing her life in the process, all the while, of course, singing and dancing. This is not easy material to pull off, but her performance is strong, her voice equally so, and I was affected by her layered performance. Naturally, there is a large cast of characters supporting the leads, and once again, the resident company delivered the goods in “Oliver.” This year’s company shines and it would be difficult to find fault. Without these players, the show could not succeed , so a tip of the hat is due.

Somehow, amidst all of this talent, I usually find a standout, and “Oliver” is no different— the twist being that it is the most heinous, most despicable, most horrible character in the bunch, Bill Sykes. The villain of all villains, played with incomparable style by Michael Yeshion, made me want to resort to old-school boos and hisses at the curtain call, which used to signify (and for me, still does) the epitome of a job well done. His voice is incredible and his performance electrifying, striking terror in the streets of London and in the hearts of the audience as he commands the stage. Yeshion is a star, and it shows.

For tickets and information go to www.fbplayhouse.org or call the box office at 845/794-1194