Guys and Dolls

Fifty years ago a group of people formed the Wetherby Musical Theatre Group and chose a show which had had its first performance some 25 years earlier but was still popular, no doubt because it had a good story, some good lines and laughs and, above all, some great songs. Indeed, it’s so good that its popularity has remained through another 50 years with numerous amateur productions and several professional revivals, most recently in a production in London which ran for almost two years until January this year. Inspired by that somewhat innovative production “in the round” and keen to mark their 50th anniversary by repeating that first choice but in a different way, the present committee made the brave decision to do the same.  

Adam Stewart is an enthusiastic chair and is also playing the part of Nathan Detroit but he might well have experienced less difficulty in finding a suitable venue in which to carry out this plan than did his character in securing a location for his own “event”.  The Engine Shed describes itself as “a wedding, party and event venue” and, although unlikely to have played host to a book show before, it proved an ideal choice. This is the group’s 100th show in its 50 years and the programme for it contains copies of the covers of no less than 84 of its previous productions.  From these it is clear that theirs has been a somewhat nomadic existence; although the High School has often staged their shows, several have been elsewhere, in a number of different venues, an indication that the town, unlike some other areas of West Yorkshire, lacks a recognised performing space. It might be worth reminding the Mayor, a former actress herself, of this apparent omission. 

For the present, however, the Engine Shed has become their home for what was a thoroughly entertaining evening. Temporarily putting aside his responsibilities as Chair, Adam made a fine job of the role of Nathan, the hard-up, less than successful gambler, one half of a 14-year engagement to Miss Adelaide, star performer at the Hot Box Club.  Phoebe Breeze has previously acted as Musical Director with the group but now made her acting/singing debut with an excellent performance in this role, a little feisty at times, otherwise a little stubborn but, unsurprisingly, anxious to convert her long engagement into something more permanent.  

The story also follows the fortunes of another couple, unexpectedly thrown together by events: the high-stakes gambler, Sky (Obadiah) Masterson, a complete contrast to Nathan, which brought a confident performance from Henry Fairnington, in only his second musical with this group.  As part of a bet, he takes Sarah Brown, of the Save-a-soul mission, to Havana and Sophia Razak gave a good performance in this, her first musical with this group and, apparently, her first for 11 years.  The two of them were well matched and the scene in Havana was particularly memorable, the playing space filled with action from the start.

The numbers involving the Hot Box dancers were colourful and well-staged and so too was the scene in the sewer in which the gamblers have a lengthy dance number. This made a complete contrast, subdued lighting reinforced by carefully-placed torches.  Scenery in this sort of staging is necessarily minimal but clever use of a number of pallets gave some variety, some opportunities for differing effects and to gain height when required. I liked the way in which these were used for a lovely grouping as Sarah’s fellow missionaries gathered around her during Arvide’s song “More I cannot wish you”.  This character had become Sarah’s grandmother rather than grandfather but the change was quite acceptable and Catherine Hopkins made the most of the opportunity this provided.  The part of Nathan’s friend, Nicely-Nicely Johnson is an important one as he has to take the lead in delivering the only song which features the entire cast, “Sit down, you’re rockin’ the boat”, and Richard Goodall proved more than equal to the task. His liking for food was amusing, especially the crunching of a celery stick when amplified by his microphone. Ben Wilman also impressed in a confident performance as another of Nathan’s friends, Benny Southstreet, They were all supported by a strong cast, some regular members of the group, others in what we hope might be the first of many more productions. The 10-piece band under the direction of another newcomer, Joe Smith, made a good sound and, last but not least, I must congratulate director Sarah Rivers for the excellent way she had made use of the space and had clearly inspired the cast with the confidence to work in such close proximity to the audience.

I think I must have seen more productions of this show, both amateur and professional, than most others but, recalling Nathan’s attempted bet with Sky, I can never remember whether Mindy sells more strudels than cheesecake (it’s strudels).  As far as the plot goes, we end with not one but two weddings. That’s quite appropriate for this wedding venue but it’s also a perfect place for a toast to another 50 years for the group.                                          

 

 

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