Guys and Dolls

Guys and Dolls is considered to have one of the finest scores ever written with its memorable tunes that run the gamut of styles from romantic, through streetwise and into gospel. Adele Clarkson (first time Musical Director) and her nine-piece band were just excellent through out and note perfect. Her enthusiasm is infectious and despite the false start over the announcements to the audience at the start of the show we knew that we were in a very safe pair of musical hands. It was clear that numbers like ‘Sit Down You’re Rocking the Boat’ had been well rehearsed by all involved and was a particular highlight of the evening.

There was a notable performance from Kurt Hassall as Nicely-Nicely Johnson who appeared to spend most of his non-gambling time eating and reacting to the dialogue around him. Kurts vocal abilities are excellent and I enjoyed both ‘Sit Down You’re Rocking the Boat’ and the “Guys and Dolls’ duet sung with Benny (played by Cameron Walker) who is equally as competent as a performer.

The show is lead by four lead principles Nathan Detroit (played by Alexander Madden in his first major role with TADLOP), Miss Adelaide (played by Sammi McSporran), Sky Masterson (played by Rich Kee) and Sarah Brown (played by Ameila Wildmore-Evans again making her debut in a lead role with the group).

I had been particularly looking forward to hearing Ameila sing “If I were a Bell” which I had heard her operatically sing previously at a concert and the performance was enhanced again in the context of the show. Ameila had good characterisation and her change during the Havanna Scene after the consumption of one to many ‘dulce de leches’(with a dash of rum) was particularly lovely.

Sammi McSporran gave a refreshed approach to the character of Miss Adelaide and made easy work of the complexity of her songs.

Accents throughout the show were well maintained by the cast and there were some good characterisations from members of the chorus.

The scenery in the interpretation of this production was minimal with gobo back projection. I did feel from watching from the audience that more set would have enhanced the overall look and feel of this production especially in the mission scene, along with more atmospheric lighting in the sewer scene.

Charlotte Lampitt provided some great choreography for the company especially in numbers such as ‘Luck be a Lady’, ‘Take Back Your Mink’ and ‘A Bushel and a Peck’. I look forward to seeing her creativity flourish in future productions.

Reiss McSporran (first time director) hasn’t had it easy, having to overcome the difficulties of rehearsal restrictions due to the impact of a global pandemic, an outbreak of coronavirus in the cast during the last few weeks of rehearsals, a lack of male performers, having to recast a number of principal roles and sadly very small audiences.  All I can say is if you can survive all of these disruptions then all future shows will be a breeze.

This is Telford and District Light Operatic Players (TADLOPs) 50th Anniversary year and I look forward to seeing their next production The Hunchback of Notre Dame in October 2022.

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