Guys and Dolls

 

As the opening bars of Runyanland began and the lighting changed on the empty set we had been looking at, the scene came to life with the characters from New York’s underworld - a believable collection of individuals and groupings with stories to tell.  This was achieved in ways that caught the eye with the imaginative differences they exhibited, style of movement, rate of movement, interactions friendly and less so, and movement of people using interesting techniques that I don’t see anywhere else and are a direct result of this particular director’s NODA training - I love to recognise the peeling, Kathy!!  This intimate use of the ensemble company members continued throughout the show with their introduction into scenes where they might not have a leading role to play, but giving them the opportunity to fill out the background with their own contributions - the vagrants in the Mission, the drinkers in the Hot Box, etc.  This increases the costume requirements, I’m sure, sometimes for the briefest crossover, but it’s such a delight to see, for example, a nun or a Keystone Cops police officer, and these moments undoubtedly add a richness to the overall picture.  One aspect of this integration is that non-dancers need not feel at a disadvantage in the production values, or that the dancers are being prioritised.  Everyone has a position in creating the world of the musical and so we observe with a keen eye.

 As is customary now with shows that require multiple settings, the cast members also had the responsibility of performing many of the set changes, wheeling the trucks around and artistically clearing set dressing, and I can only wonder at how the complex manoeuvres are rehearsed until a few days before opening night when the pieces are delivered to the theatre.  The handling of the props, all congruent with 1930s' America, was effected in a fluid, comfortable way and everything appeared, from our point of view, to be in the right place at the right time.  The tied bundles of ‘newspapers’ made realistic seats, while individual papers, if a little heavy duty, were printed to resemble their counterparts and of a material to stand being manhandled for the duration of the show, the Save-A-Soul Mission band carried fitting instruments, in particular the quintessential tambourines, and served their drinks in tin mugs, the guns looked right being given weight in their handling, and the clothing that became props was donned and removed without hitch.  The clearing of the table settings at the end of the Hot Box scenes was swift and tidy with everyone knowing just what his or her role was and, later, the neat provision of a screen allowed the dice to be thrown for real without getting lost.   The many outfits demanded by the varying roles in this show all sat comfortably with our preconceptions of the era.  They fitted well and allowed for freedom of movement, and I know that isn’t something to be taken for granted.  Well done to all the costume team who had to work hard to alter some of them that arrived in poor condition only days before production - we would never have known.  The individuality of the players in the opening scene provided variety while the different sets on display showed uniformity - the Mission band in their glowing red, the Hot Box girls in gingham or satin, the black clad waitresses and MC, and the crapshooters with wide lapels and fedoras (Nicely Nicely standing out as a more comical character), while the bright patterned shirts and colourful dresses in Havana instantly transported us to a Cuban carnival.  Footwear was considered - loved Sky’s two-tone brogues and Adelaide’s marabou trimmed slippers. The hair and make up were appropriate and the wigs fitted and were in good condition, Adelaide’s Marilyn Monroe blonde curls helping her character. 

It is a great pleasure to be able to write that the sound was just dandy!  Frank Loesser took time and trouble writing the lyrics and selecting les mots juste so he wanted them to be heard.  So often it’s necessary to note that the volume was too great or the balance was out, but this show had it right, like Goldilocks’s porridge.  We could hear all voices clearly in balance with the music, which says something about the cast’s diction and articulation as well as the system and its operator, and so we were able to enjoy the witticisms.   The accurate blending of the vocals allowed every line of the several polyphonic songs to be clear and the texture of the harmonies to be appreciated.   MD Nick Long had put together a talented band to accompany the singers and had obviously trained the performances with diligent rehearsals to get across the nuances of tempo changes, humour and emotions that captivated the audience.  Fugue For Tinhorns demands huge concentration from the singers, The Oldest Established features a barber shop-like a cappella section, and Adelaide’s Lament, Sue Me and Sit Down You’re Rocking The Boat stand out as three songs that have pronounced speed changes, all of which require scrupulous rehearsal and excellent management from the Pit on the night that was clearly in evidence.  

The dance numbers added hugely to the overall impact of this production with vibrant and original choreography that impressed me in so many ways.  Well rehearsed and disciplined they showed  imagination and evidence of an understanding of how to create movement appropriate to the characters and the story… not always the case.  In many shows a choreographer will just do a ‘nice dance routine’.  Jess Madeley is able to put together the natural gestures and body language of a bunch of hoodlums, gamblers and their molls, and turn them into something engrossingly watchable.  And what’s more she can coach performances from a cast full of mixed abilities that consequently merge almost imperceptibly.  Armography featured, which works when everyone knows the moves and is a very slick method to involve the non-dancers successfully.  I got a huge kick out of identifying stop-motion, staccato postures, precise freezes, unison work juxtaposed with individual and small groupings’ work, athletics versus lyrical, safe impressive lifts, full ensemble against solo, close interpretation of the music and varied pictures and tableaux that used the levels provided by the furniture. It is a fine talent to be able to choreograph a show in a unique way and not just churn out the same combinations as last year or the year before.  Excellent work! 

At the helm of this production, Kathy West knows what she’s doing. Years of honing her skills and knowledge, and her innate talent, have given her an attentive eye for detail and the experience to coax her cast to give of their best.  Her selection for the lead characters was spot on for believability and even though there had to be a gender-blind element in peopling the stage with enough crapshooters, we accepted the male mannerisms of the females.  It takes time to prepare crowd scenes and we saw the effect so many times in this show, from the opening, through crap games and Mission Hall, to nightclub customers, with individuals given, or encouraged to create for themselves, back stories that could be quietly conveyed without pulling focus from the main action, which they managed extremely well showing a discipline and awareness of the value of stillness.  Their reactions were natural and unforced.  Leading characters had clearly been coached in holding the floor during dialogues without shuffling around and their controlled gestures avoided the flappy arms so many amateurs adopt!  The show romped along at a terrific pace with words secure and cues picked up promptly by all indicating a rehearsal schedule that was suitable for purpose.  

Guys and Dolls is a great feel-good musical of the old style, rousing chorus numbers, vibrant dance routines, colourful costumes and a fairytale storyline.  I am quite sure that Frank Loesser himself would have approved of this staging of his work that interpreted his intentions with clarity and provided an evening of highly enjoyable entertainment that the society can clock up as another society success.  

 

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