Guys and Dolls

The 1950s' well-tested Broadway storyline of Damon Runyon characters creating a musical romantic comedy with memorable numbers from Frank Loesser, ‘I’ve Never Been in Love Before’, ‘I’ll Know When My Love Comes Along’, ‘Adelaide’s Lament’, ‘Luck be a Lady’, ‘Sit Down you’re Rocking the Boat’ being some. A big NY gambler Sky Masterson and Save-a-Soul Mission Sergeant Miss Sarah Brown looking for more sinners to convert, seem an unlikely pairing as the leads.  Nathan Detroit looking to run a crap game needs $1000 and where to get it from?  Hot Box dancer Miss Adelaide is frustrated with ‘full of promises’ Nathan after 14 years' engagement. Lt. Brannigan is on the trail of the gamblers, who finally repent their sins and the couples happily unite.

Easy to handle and read, the A5 informative programme was designed by Lee Hatcher. It was fascinating seeing this performance being ‘signed’ adeptly by Emma Isted.

Director Annie Hatcher designed the set. The five-man construction team created an open stage set with angled side wings depicting the street wall complete with flyers and telephone booth one side, opposite the Mission with coloured glass and a central door used for both exterior and interior scenes. Downstage was a walled archway containing the sewer entrance with a circular hatch on stage. The sewer steam was atmospheric. Scenes changes were made by various moveable clothes and decorations - a clever idea but somewhat slowing up action and leaving the hardworking stage crew at times too visible. Steps to the front of the auditorium were well used, as was front of stage. The lively band led ably by John Williams were seated upstage – sometimes seen, other times with a white backdrop used for projections, drawn across. Perhaps distracting, but perfect for the Havana scene. This left limited stage space but the performers and dancers managed extremely well. The illuminated Hot Box sign looked stunning. Penny Tobin set-up and provided good realistic sound effects, radio mikes, with volume and balance just right. James Harper and Elly Hills oversaw the adequate lighting.

Singing was beautifully coherent. Gentlemen did a grand job with ‘Luck Be a Lady’ - full company numbers most enthusiastic. Mission Girls may have benefitted from a few more singers to encourage the volume. Excellent duet/trio renditions came from Nicely-Nicely, Benny and Rusty, sustained good accents throughout, portrayed by Robin Harrison, Glyn Roberts and Max Chesters. Duncan Fryer characterised Nathan Detroit – his first appearance with CODS - pairing with Louise Franklin as his long suffering, perfectly costumed Miss Adelaide, equally matched, with some classic comedy lines being beautifully timed.  Monika Green played a delightful Sarah, quite a contrast from seeing her perform Delores, with top quality singing, who worked very well with tenor Simon Tomlinson, the worldly yet vulnerable Sky, particularly enjoying their ‘I’ve Never Been in Love Before’ and most amusing was their ‘If I were a Bell’ Havana night.  Keith Hedley performed a perfectly cast Arvide Abernathy, master of the big drum, gave a touching rendition of ‘More I Cannot Wish You’ to Sarah - a highlight moment for me.  Rita Wilkins and Sharon Pickles' costumes were both colourful and fun, Hot Box girls looked appropriately naughty, all well shoed with good accessories too.  Ladies’ hair was well groomed and suitably styled, with make-up also of the time – good red lips, under the supervision of Penny Tobin. Lee Hatcher provided the numerous props, including splendid musical instruments

An army of hardworking helpers were involved, headed by Annie Hatcher, with company and dance movements devised by Hannah Carter assisted by Dance Captain Sarah Hutchings. A good feel production.

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