Guys and Dolls

The classic musical "Guys and Dolls," known for its rich tapestry of New York characters and iconic musical numbers, recently graced the stage of Lancaster Grand Theatre. This production promised to immerse audiences in the colourful world of gamblers, missionaries, and showgirls in 1950s New York.
 
Set in the heart of New York, "Guys and Dolls" follows the adventures of gambler Sky Masterson, who is bet by Nathan Detroit that he can`t win the heart of straight-laced missionary Sarah Brown. Meanwhile, Nathan is struggling to find a location for his illegal craps game while managing his relationship with his fiancée, Miss Adelaide (who is growing increasingly impatient for a wedding). The story unfolds with humour, romance, and memorable musical numbers, capturing the essence of New York City life.

Samuel Wicks played the leading role of the charismatic Sky Masterson. Sam delivered a really good performance - a slightly more gangster-like Sky with a harder edge to the role than I`ve seen before - possibly, in some places, the edge was a little too hard. Sam himself always has charisma in any role he plays and really didn`t need to try to force his "rizz" upon us. On saying this, when Sam turned on the charm, his character shone through. 

Anna Webster captured Sky (and the audience's) hearts as Sarah Brown, delivering great vocals and a moving and amusing performance. Her scene with Adelaide was a delight and one of the highlights.

Good old reliable Nathan Detroit was played by James Shields. James`s Nathan was brought to life with great vocals and comic timing, whilst never coming out of character, almost breaking the fourth wall on occasion.

Performance of the night for me was Ashleigh Hartin as Adelaide. Ashleigh always manages to light up a stage whenever or whatever she performs in. As Adelaide, managing to perfectly balance comedy and pathos, taking the audience on her journey through the show, having them in the palm of her hand. Her facial expressions were priceless and delivery of her one liners sublime.

Karl Fisher Roe was perfectly cast as Nicely-Nicely Johnson - almost stealing the show with his rendition of "Sit Down, You're Rockin' the Boat." (More of that later)

Matt Armistead as Benny Southstreet provided a delightful comedic presence, complementing Nicely-Nicely perfectly.

Bob Bailey brought warmth and sincerity to the role of Sarah's grandfather, Arvide. No doubt Bob will be asking for a nomination for best entrance from stage left, or something similar. 

General Matilda B. Cartwright, Samantha Parker, commanded the stage as the formidable General Cartwright, adding a strong presence to the Save-a-Soul mission scenes. 

Steven Bryant as Big Jule gave an unforgettable performance with an unforgettable costume

Once again, the chorus of MAODs had been worked hard. I must say that the chorus (especially the men's) sounded excellent throughout. So much so I was really looking forward to hearing their rendition of "Sit Down, You're Rockin' the Boat", and it definitely did not disappoint. Well done all.

The set captured the essence of 1950s New York, from the bustling streets to the seedy backrooms - whilst the detail wasn't there, it didn`t matter, as the performances stopped you spending too much time dissecting the set. Sound and lighting were, as ever, good with the sound crisp and clear. 

Generally, I don`t mention costuming/style as the performances are what should stand out. The costumes were a dazzling array of 1950 attire designed to reflect each character's personality and status. From Sky's suits to Adelaide's flashy showgirl costumes, the wardrobe added depth and authenticity to the production BUT.... 1950 - Men were dapper and clean shaven or with perfectly styled moustache's - their hats basically parallel to the floor - never tilted unless tilted away from the lady on his arm to make way for her hat. Whilst this may seem a bit nit picky, it must have felt  so wrong to me otherwise I wouldn't have noticed. Big Jule`s Summer hat was almost sombrero in size and I think his suit must have been tailored for when he must have been `Even Bigger Jule`. But enough of that, back to the production team.

Under Joanna Jeffreys's baton, the Principals, Chorus and orchestra brought the score to life with vibrancy and precision. The amount of work that Joanna had put into the harmonies really paid off - she challenged the chorus and the challenge was duly accepted. 

Choreographer and Director, Sophie Jade Butler created dynamic and expressive dance numbers that ranged from the sultry to the exuberant, always pushing the cast, but never to the extent of leaving somebody behind. Her vision for the show was evident, blending the comedy, romance and drama seamlessly.

Well done MAODS, on your production of "Guys and Dolls". This show is a testament to the enduring appeal of classic musical theatre and is a must-see for both long-time fans and newcomers alike.

Thank you, MAODS for the invitation and hospitality.

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