Guys and Dolls

Director Gregory Aston had decided to put his own slant on this well known show, I can see that it might have annoyed some people who know the show well and were expecting certain things, but I thought that most of the time it worked.

To maximize the usable stage space and enable the show to keep moving the exterior of the main venues of the ‘Save-A-Soul Mission’, ‘The Hot Box Club’ and ‘The Racing Post Stand’ were permanently set; a street scene had been painted either side of the ‘Hot Box’ which were covered by drapes to depict interior scenes and the ‘Hot Box’ name was flown in and out appropriately; all the ‘interior scenes happened in the centre of the stage with cast moving furniture as required. The only scene which I felt did not quite work was in the ‘crap game’ in the sewer; it needed something to take away the prominence of the ‘Hot Box’.  The set was soundly constructed and well painted.

The sound effects were well sourced and street sounds took us outside and were always at an appropriate level. The balance of microphone was set at the right level, always coming in on cue and there were no ‘crackles’.  The lighting had been well-designed giving interesting effects in unexpected places. Both sound and lighting were very effective in the sewer scene but there was still something missing.  The production had been set in a slightly more modern era than usual and the costumes reflected this and were well worn.  But I would have liked some of the men’s costumes to have reflected their names a little more as with Rusty Charlie.  Make up and hairstyles were appropriate. 

If there is one problem with this show it is that it is very well known and people have certain expectations of the characters, but everyone had developed their roles and made them their own.  I was a little unsure of Nathan Detroit at the outset but he grew on me.  Also I felt Sky Masterson should have been more aloof from the other ‘Guys’ as he is not really one of them, he just joins them when he is in Town, and they are slightly in awe of him.  Everyone gave strong performances and worked well together as a team; therefore it would be unfair to single out individual performers.  But I must mention Lt. Brannigan, as often this character does not have much impact, but this Brannigan had a touch of every American police officer you might have seen in it, including a dash of ‘Colombo’.

Choreographer Zoe Harwood is to be congratulated on her dance routines.  She had devised energetic complicated routines, which must have stretched the capabilities of many of the cast.  She was fortunate to have a set of young ladies for her ‘Hot Box’ girls who were able to perform some ‘cheeky’ routines.  The Latin American routine in Havana was well executed, so many of the audience would be quite critical these days if they follow ‘Strictly Come Dancing’.  Also the “Crapshooters Dance’, ‘Luck Be a Lady’ and ‘Sit Down, You’re Rocking the Boat’ were all energetic and well executed.

Musical Director Karen Gillespie had worked hard with the cast on the musical numbers and the singing from both individuals and the company was good.  There were several memorable numbers including ‘The Oldest Established’, ‘Adelaide’s Lament’, ‘My time of Day’ and ‘Luck Be a Lady’.  The only number I was unsure about was ‘More I cannot Wish You’, I felt it was too fast and lacked sincerity.  I know the character of Arvide is usually her grandfather and this time was her uncle, so perhaps needed a different interpretation, but it is such a lovely song, I was disappointed. Allan Gillespie conducted the show well keeping everyone together and not letting the musicians overpower voices.

Gregory Aston had some lovely ideas, most of which worked very well.  He made good use of his set and entrances and exits through the theatre to free up the stage.  He had arranged good pairings for ‘Guys and Dolls’, and created lovely pictures at the end of songs.  The whole team had worked hard together to produce a pacey show, which the audience enjoyed.

© NODA CIO. All rights reserved.