Guys and Dolls

Brassneck Theatre chose a classic for their production this year and Guys and Dolls certainly came up ‘clean and fresh and cold’. A deceptively simple set, designed by Tom Hughes, provided an enticing backdrop for all the scenes. Broadway lights flashed and the orchestra took centre stage high up behind a beautiful sunburst of illumination. A strong cast of regulars and a few newcomers brought New York to life from the opening moment of Runyonland, beautifully choreographed by Sarah Joice. We knew we could just sit back and enjoy the moment.

There were a few cabaret tables at the front of the hall, and using these audience members as a foil for the Salvation Army’s appeals at the start worked really well. The half-level booths for the Hot Box, however, were difficult to see from the stalls, so some important action was missed. The Hot Box was probably a classier joint than we usually see, and the unusual treatment of Bushel and a Peck worked well. These costumes were all beautifully detailed too and the dancing girls gave great performances throughout. The audience loved Adelaide’s Lament played by Caroline Bayfield. MD Tom Kyle allowed all the soloists the opportunity to develop their songs through acting, which told the story so well. So many highlights to mention, but I can’t leave out the interpretation of the Havana scene- the dancing tables were genius and took us from snapshot to snapshot with joyful continuity.

Probably my favourite performance came from Chloe Anderson as Sarah Brown. This is a difficult part to pitch just right- principled, straightlaced but believable, likable and desirable. Added to this the range in the songs is large. But Chloe excelled in all this and really gained audience empathy in a delightful performance. I’ll know was sung beautifully by her and Ben Tomlinson, as Sky. Ben was also utterly convincing in My Time of Day (one of my favourites in the show) and as we segued into I’ve Never Been in Love Before Act One came to a stunning climax.

Act Two takes us to some of the ‘big hitters’ in the show. The sewer scene was enhanced by the availability of a trap door and the set design, including a spiral staircase. The echo sound effect and dripping water convinced us of the location. This was a great scene and Luck Be a Lady was a real crowd pleaser. One of my favourite scenes in the whole show was when Nathan (Richard Lloyd) ‘co-incidentally’ bumps into Adelaide as he climbs out of the sewer. This was beautifully judged by both actors and the letter scene, played not just for comedy, but with a real sense of guilt from Nathan, was an original touch. Then into Sue Me, another great number.

Now step up Nicely Nicely Johnson (Stu Hutchinson) to lead the undoubted iconic moment of the show, Sit Down You’re Rocking the Boat. This was not only an unbelievably well drilled routine, it was three unbelievably well drilled routines as there was no mere repetition in the encores but whole new sets of action to learn so bravo on this one, and well done, Stu – great vocals, supported by wonderful harmonies from the company.

This was a complete team effort, every person on the stage was utterly committed to their roles. So much to mention that it is probably enough to say congratulations again to Royston Bayfield and his entire team: onstage, backstage, front of house, for a stunning evening of theatre. Long may you continue to enjoy success.

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