Guys and Dolls

GUYS AND DOLLS is a Broadway musical based on a story and characters by Damon Runyon, with music and lyrics by Frank Loesser on a book by Jo Swerling and Abe Burrow.    The narrative follows gamblers (the sinners) and the missionaries who are trying to save their souls.   When the lights dimmed, we were transported to 1950 Manhattan and find Nathan Detroit trying to find a venue for his illegal crap game.     

The costumes were excellent and fitted well.   The gamblers wore suits and hats of the period and Nathan’s suit was colourful and in keeping with his character.     During the opening street scene, there was a cross section of society ranging from smart attire to down and out scruffy.     The Hot Box dancers were kitted out in high quality show costumes.  There were uniforms for the Mission Band and a bridal gown for Miss Adelaide.    I would like to have seen Miss Adelaide in more than one smart day outfit, befitting her status as the leading act at The Hot Box.  

The set was very good and changed with the action from street scene, to the stunning Hot Box nightclub. Scene changes were done smoothly and (mostly) accompanied by music.     The sets contrasted well, lively and colourful when in Havana and more uniform (and dull) for the Mission Hall.  Props and furniture were good; night club tables, a payphone (used only once) and the news stand was well constructed and convincing.

The sound was excellent with voices in tune and clear.  Projection was good throughout.  The lighting was superb and used well to enhance moods, vibrant and bright for Havana, more neutral for gambling and other scenes.  Good use of spots for solos and ballads.  The lighting for the Hot Box night club was flashy and exciting.

This is a show that is full of songs that are part of the fabric of Broadway with well known classics such as ‘Sit Down You’re Rocking the Boat’ and ‘Luck be a Lady’.    If you can skim over the show’s dated attitude to ‘ball and chain’ marriage, the witty and humorous dialogue makes it hard to resist. The cast absolutely shone from start to finish. Owen White took the role of Nathan Detroit and stuffed him full of energy and gestures. He was confident with his quick-fire dialogue and matched equally with the more laid-back style of Robin Walton as Sky Masterson. Charlotte Savage as Miss Adelaide was brimming with pizzazz and in fine voice. Lucy Egan as Sarah Brown transformed from upright missionary to fun-loving party girl on her trip to Cuba with Sky.   There were many memorable moments: James Palmer as Nicely-Nicley Johnson belted out ‘Sit Down You’re Rocking the Boat’ with gusto. This was immensely impressive given he took on the role at short notice.  Other highlights for me were the touching solo from Tim Price as Arvide Abernathy as he sang to his granddaughter, Sarah, ‘More I cannot wish for’ and The Crapshooter’s Dance, choreographed by Alex Williams (one of the Crapshooters) which was zippy and simply stunning.   Every member of the cast was fully engaged and enthusiastic in this story of love, growth and temptation.    

Well done to everyone involved in this production which was under the Direction of Catherine Hannan.    The music, throughout, under the direction of Sam Dando was a sheer delight and musical theatre at its brightest and best.   

 

© NODA CIO. All rights reserved.