Guys and Dolls

I guess I should have suspected this was going to be different when I received my tickets for this show as we were allocated ‘Balcony’ ones. Not seen that before in 4SIXTEEN’s ‘In the Round’ oblong studio stage. Indeed, the whole studio had been rearranged, including the audience seating. As we arrived I noted all of the theatre staff (in this case students) were dressed in 1950’s outfits and talking with American accents – A great way to set the scene. The first thing that greeted us was the base of a boxing ring set at an angle with various entrants and exits including a ramp, which served as the stage. The audience was then distributed throughout the rest of the studio so as to allow plenty of corridors between the seats for the actors to use. And my goodness they certainly made use of it. The show was apparently inspired by the recent London production, which the cast had seen a few months prior. Superb out of the box thinking by set designers, the show’s Director Luke Skeel and its Producer Sophie Kelk!

The story follows gambling addict Nathan Detroit trying to find the money to set up the biggest crap game in New York, via his friend Sky Masterson whilst his girlfriend Miss Adelaide, a nightclub singer laments their fourteen year engagement  that hasn’t yet ended in matrimony. Meanwhile to complicate matters Sky falls for missionary Sarah Brown, which gives him a moral dilemma as he sets off to both woo her and help his friend Nathan. Meanwhile they are trying to stay out from under the radar of the local law enforcement looking for illegal gambling.

The stage, under the management of Bethan Lee started off with a door frame with a very stylised illuminated signpost in the shape of reversed ‘J,’ pointing to a bar, which was removed as the action opened. There were also two chimney stacks raised a foot or two above the height of the stage with whiffs of ‘smoke,’ which gave a haze effect to the action when needed.

Lighting, which was to his usual high standard was by the very experienced ex-pupil Ben Cronin back for probably his last outing for 4SIXTEEN. Not a foot wrong as per usual. And smoke haze certainly set the atmosphere very well. Sound, by Emily Green, Jack Serino and Year 8 pupil Lyra Colliss was clear but I have to admit getting used to the American accents, which the cast had done a great job on, did take a while.  All the main characters were miked up and worked well once I had got over that problem.

Costumes, designed by Sophie Kelk, I note in the programme were very well sourced, at least in part, with help from the local Sharnbrook Mill Theatre, with a great array of double-breasted suits and stand out outfits for the girls, especially the spangly pink dresses for the chorus of dancers. They certainly got the period spot on. All finished off with makeup by Cleo Harcombe, Sydney McGrath and the team themselves.

Choreography over the years at 4SIXTEEN has certainly come on in leaps and bounds and again Sophie Kelk and Molly McCarthy had raised the bar a further notch with some innovative and well-practiced routines. Absolutely wonderful to watch!

Once again 4SIXTEEN young actors excelled themselves with some outstanding performances. Annalise Reveglia as Miss Adelaide was very much in command of the stage both as an actor and particularly with her incredibly powerful singing voice with numbers like Adelaide’s Lament, which had the audience in raptures. Harvee Liburd absolutely nailed the part of Nathan Detroit with a very good portrayal of a slightly on edge street hustler, always wary but always hopeful, but really just a small-time loser trying to make the big time. Sami Clements as Salvation Army Sergeant Sarah Brown just oozed confidence in the part, demonstrating frustration at her inability to attract converts and her turbulent relationship with Sky. Nicely done. Noah Wosahlo was equally up for his part as Sky Masterson, as he goes on his journey from Hustler to Convert. And some lovely duos with Sami Clements especially ‘I’ve Never Been In Love Before’ and ‘I’ll Know’ Very subtly done.

Faith Mazwi, as Nicely-Nicely Johnson, Oliver Rodgers as Rusty Charlie and Tyne Burgess as Benny Southstreet provided some excellent ‘mussel’ as the street hustlers and gamblers, giving us a good opener with ‘Fugue for Tinhorns.’  Well backed up by their fellow Crapshooters, Caleb Matthews (Harry The Horse), Tyler Byrne (Big Julie), Rebecca Humphries (Angie The Ox), Flynn Sibley (Liver Lips Louis), Cris Modafferi (Society Max) and Frankie O’Donnell (The Lookout).

Annabel Goodbody as Lt. Brannigan and her two sidekick Police Officers Chido Nyandoro and Ruby Smith, provided a great deal of amusement whenever they appeared chasing their tails trying to catch our illegal gamblers.

And then there were the incredibly well drilled ‘The Hot Box,’ led by Jasmine Edmonds as Mimi, Leia Garrett, Madison English, Grace Arnold, Erin Bishop, Mya Fitzharris, Evie Carpenter and Chido Nyandoro. And well done also to the very large Ensemble whose entrances and exits were always spot on time as they threaded their way through the maze that was the audience seating. Excellent job all-round.

I have literally watched this group grow up, as I have seen all the shows they mention in their CVs in the programme. It has been a pleasure and privilege to see them go on their theatrical journeys from embryonic beginnings to putting on the very professional shows they now tackle with this type of confidence. This is not an easy show to do, it takes a lot of understanding the background to basic inner city American street life with its own unique dialect and customs, but 4SIXTEEN were certainly up for the challenge.

So well done to Director Luke Skeel, Producer Sophie Kelk and their cast and crew. Extremely well done!

© NODA CIO. All rights reserved.