Guys and Dolls

I was delighted to be invited to see Belfast Operatic Company's production of Guys and Dolls at the Grand Opera House.

This is a musical that I have loved for many years, so I was excited to experience a fresh interpretation of this much-loved classic.

Under the musical direction of Colin Scott, the orchestra opened the evening with an outstanding overture. The quality of the sound was among the best I have experienced in a live production, immediately transporting the audience into Damon Runyon's colourful world of gamblers, showgirls and the Salvation Army. Throughout the evening, the orchestra delivered an exceptional performance, providing a rich musical backdrop that enhanced every scene. While there were occasional moments when the balance between orchestra and microphones was not quite perfect, these were minor issues in an otherwise excellent musical presentation.

Director Kerry Rodgers offered a distinctive and imaginative interpretation of the show. The production embraced a more stripped-back aesthetic, with excellent props and a versatile set design featuring large opening panels, a staircase on trucks and oversized dice that transformed into tables, seating and other scenic elements. It was a bold concept that allowed the story to flow seamlessly while creating a strong visual identity for the production.

Particularly effective were the opening tableau scenes accompanied by newspaper headlines, which clearly established the setting and introduced the characters with a nod to Runyons journalistic career. The storytelling remained clear throughout, ensuring the audience always understood the narrative and character relationships.

The production was at its strongest during the full-company numbers. These scenes burst with energy and were enhanced by Tim Bell's excellent choreography. Numbers such as "Sit Down, You're Rockin' the Boat" were particularly memorable, featuring inventive staging, beautiful patterns and excellent use of the space available. The ensemble performed with enthusiasm and commitment, with every performer appearing fully invested in the production.

The wigs were generally effective, and the costumes were bright and colourful, contributing to the vibrant atmosphere of the production. However, there were occasions where more considered costume choices could have strengthened both the visual storytelling and characterisation. The absence of evening attire for the ensemble in the Hot Box scenes diminished the cabaret nightclub aesthetic. Additionally, Adelaide’s costumes during her Hot Box appearances could have been given a more sympathetic and distinctive visual identity.

The lighting design played a significant role in establishing atmosphere and mood throughout the evening. The transition into Havana was especially effective, creating a vibrant sense of place and enhancing the visual storytelling.

Naomi Smith delivered a commanding performance as Sarah Brown. From her first appearance, she displayed warmth, conviction and vocal excellence. Her singing was simply beautiful, powerful and emotionally engaging.

Dessie Havlin's Sky Masterson offered a strong vocal performance, both principal performers were individually impressive, there was a slight lack of chemistry between Sky and Sarah, meaning some of the romantic moments did not fully achieve the emotional impact the story requires.

Emiko Seawright was outstanding as Miss Adelaide. Possessing impeccable comic timing, a flawless accent and enormous charisma, she quickly became an audience favourite. Beyond the comedy, she skilfully revealed Adelaide's vulnerability and heart, creating a performance that was both hilarious and genuinely moving. Every appearance was a highlight.

Greg Fox gave an engaging and accomplished performance as Nathan Detroit, capturing both the humour and humanity of the character. His natural comic timing, strong stage presence and assured vocal delivery made for a thoroughly enjoyable portrayal. He also shared a believable and engaging relationship with his co-star, creating some of the production’s most authentic and entertaining moments.

Conor Anderson was excellent as Nicely-Nicely Johnson, bringing boundless energy, charm and personality to the role.

Strong character work was evident throughout the cast, Michael Bradley delivered a beautifully judged performance as Arvide Abernathy, bringing warmth, sincerity and emotional depth to the role, particularly during his touching musical moments with Sarah. Daniel Clarke and Adam Callender impressed as Benny Southstreet and Rusty Charlie, both creating distinctive and believable characters while contributing strongly to the ensemble. James Marsden also made a strong impression as Harry the Horse, bringing confidence, character and humour to his scenes. Together with the rest of the company, they helped create a vibrant and richly populated world, with every performer contributing meaningfully to the success of the production.

It was a genuine delight to see amateur theatre royalty Laura Kerr take on the role of General Cartwright. Fully embracing the character, she wrung every possible moment of comedy and expression from the role, bringing a refreshing energy and humour to a part that is often portrayed in a much more serious manner.

A special mention must go to the Hot Box performers, who were an absolute delight throughout. Full of energy, personality, and character, they brought tremendous fun to every appearance and provided fantastic support for Adelaide’s Hot Box numbers

Thank you for the invitation to see this highly enjoyable and refreshingly different interpretation of Guys and Dolls. Belfast Operatic Company should be commended for taking a creative approach to such a beloved musical while remaining faithful to its heart and humour. Supported by outstanding orchestral playing, strong principal performances, energetic choreography and clear storytelling, this production delivered an entertaining and memorable evening of musical theatre.

 

The views in this report are solely of the author.

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