Guys and Dolls

Returning to the newly refurbished Arts Theatre, Cambridge Operatic Society’s latest production of Guys and Dolls proved to be a dazzling affair, teetering on the edge of professional calibre. From the opening moments, as the set was gradually illuminated in sync with the overture, the audience could sense they were about to witness something rather special.

The set design was particularly striking, utilising colour-changing LED strip lights threaded across a scaffold structure to evoke the iconic New York skyline. Multiple levels and a cleverly constructed staircase provided both visual interest and depth to the choreography and blocking. While a few minor details – such as uneven neon strips and some exposed masking at the rear – caught the eye of this set designer, the overall concept was impressive. The addition of hanging TV screens to mimic billboards was inspired, but uniform aspect ratios would have made the moving graphics less distracting.

Direction and staging were handled with ingenuity, allowing for dynamic scene changes and engaging interactions throughout the varied levels. The choreography stood out for its creativity and execution, with Act Two’s “Take Back Your Mink” offering a memorable burlesque-styled routine by the Hot Box Girls, complete with inventive ‘leg’ choreography emerging from birds’ nests centre stage. The male ensemble excelled in numbers such as “The Oldest Establishment” and “Luck Be a Lady”, with every participant giving their all regardless of training – not a single weak link among them. “Sit Down, You’re Rockin’ the Boat” deserves special mention, featuring Ash Smith (Nicely-Nicely) soaring through cast assisted acrobatic somersaults without missing a note – an impressive feat indeed.

Costuming, however, did not work from my perspective. Traditional 1930s gangster suits gave way to modern attire, with the men's outfits appearing more contemporary than period-appropriate, and some women’s costumes featuring up-to-date prints. This lent a slightly confused air to the setting and the intention behind these choices was unclear.

Beyond this, the cast’s acting and vocals were exceptional across the board. Luke Thomas brought just the right amount of swagger to Sky Masterson, while Saskia Edwards-Korolczuk perfectly captured Sarah Brown’s primness, their chemistry building beautifully as the story progressed. The Havana scene was a particular highlight, with Sarah’s transformation delightfully portrayed. Nevertheless, the evening belonged to Vikki Jones as Miss Adelaide, whose West End pedigree shone through in a truly outstanding performance – a real tour de force.

The show’s pacing was another triumph. Guys and Dolls is known for its blend of grand musical numbers and in my view ‘text heavy’ scenes, which can sometimes slow the action. Here, however, the dialogue and scene transitions were snappy and well-rehearsed, sustaining a vibrant energy from curtain up to final bows – exhausting in the most exhilarating way.

While comparisons to typical regional NODA shows may be unfair given the professional creatives and ex-professional cast members involved, this production stands out as one of the finest amateur shows I’ve had the pleasure of watching in recent months. Congratulations to everyone involved; this was a thoroughly enjoyable evening and sets a high bar for future Cambridge Operatic Society performances.

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