Guys and Dolls

For us ‘older’ people it’s always a pleasure to see one of our favourites from days gone by being revived, and Guys and Dolls definitely falls into that category having premiered on Broadway back in 1950. Based on Damon Runyon’s short stories, it is full of great music and songs, with a humorous storyline, so what’s not to love? Better still, we were welcomed into the foyer of the Festival Hall by a real Salvation Army band, creating a wonderful atmosphere and getting the evening off to a great start.

The set design (Jeanette Simpson and Andy Tubbs) was top quality. It sensibly left the stage clear for the large cast – just a few pieces of furniture and the news stand brought on by cast and crew, with a projected New York skyline and the orchestra at the back of the stage separated by a gauze. Illuminated signs (which lit up according to the scene) decorated the sides of the proscenium arch, with the Hot Box banner across the top.

The back of the stage seems to be the best place for an orchestra in this venue, allowing a good balance to be achieved between the instruments and the singers.  The fourteen-piece band produced a wonderfully brassy sound under MD Andrew Hadfield-Scoates’ baton, and sound man Tom Davison managed to mix it well with the voices so that we heard every word.

Big shout out to Sarah Dove, Patricia Buttery and their wardrobe team for sourcing such a huge array of colourful and interesting costumes – every single one looking exactly right for the show. All enhanced of course by Ian Pratt’s equally colourful and moody lighting design.

The overture leading into Fugue for Tinhorns was a sight to behold There was so much going on, you would need to see the show several times to appreciate it all. A masterpiece of direction and choreography! Adam Brombley and Grace Moritz made a great couple as Sky and Sarah – their melodic voices blending perfectly in their duets and his relaxed, in-control attitude contrasting nicely with her up-tight, fretful character. Simon Stanley’s Nathan Detroit was spot-on: a very believable wheeler-dealer and the ultimate reluctant bridegroom. Again, he was matched perfectly by Hannah Evans’ Miss Adelaide. She made her so much more than a ditzy dancer. The real emotion shown in her songs made her a much more three-dimensional character than we usually see, and each was so well sung.

Nathan’s sidekicks Benny Southstreet and Nicely Nicely Johnson were well played by Mark Davies and Jordan Vince, who gave them real character and charm. Jordan’s rendition of “Sit down you’re rocking the boat” was a real showstopper, well deserving of the applause it received. Casting Lucy Summers as Big Jule was inspired. She milked the comedy of her height difference (against Hannah Latimer as Harry the Horse, and Sky) for all it was worth! Dennis Brombley was exactly right as Arvide – the kindly, sensible adviser to Sarah and his song “More I Cannot Wish You” really tugged at the heart-strings.

Singing standards throughout, by chorus and soloists, were excellent, with some gorgeous harmonies. Dancing too was first class with the big numbers like “Havana” and “The Crapshooters’ Dance” absolutely spectacular. Emily McCubbin’s imaginative choreography was executed very precisely, despite the huge cast that was on stage.

Director Mary-Rose Finden, you and your cast and creatives have given us a really stylish and exuberant production of this old favourite. It’s wonderful to go home feeling really lifted by a show and judging by the reactions of the near-capacity first night audience on the way out, we all felt exactly the same. Well done everyone!

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