Guys & Dolls

Following last year's award winning "Singin' in the Rain" was always going to be a difficult task, but once again the "run like clockwork" KHW with their highly experienced production team and talented performers have come up trumps. I have seen and reviewed "Guys and Dolls" many times and thoroughly enjoy the vibrancy and life the show offers to experienced performers. But could young people aged from eight to eighteen possibly compare, I asked myself! On this evidence, the answer is a resounding "YES!".

A lively and detailed opening scene on Broadway featuring a news vendor stand, a flower seller, photographer and pickpocket at work, chased by police - all this during the overture - set the scene for this well thought out, intensely rehearsed and ultimately fascinating production.

Slick scene changing for the many various scenes portrayed kept the all important pace flowing. A well projected opening trio of "Fugue for Tinhorns" with strong acting and singing was followed by the effective entrance of the Salvation Army, complete with tambourines, drums and musical instruments through the hall on to the stage.  

A deep and extended stage area with the band above back of stage, blending with the New York skyline setting, gave plenty of space for director Ros Broyd (assisted by Tom Gardner and Blanche Brown), together with choreographer Andrea Atkinson (assisted by Christy Welsh and Tash Rose) to showcase their talents.

Musical director Michael Burbidge (assisted by Gavin Jackson) marshalled his eight strong band with his customary assurance, always giving full support, whilst never overpowering the singers.

Nicely-Nicely Johnson, Benny Southstreet and Rusty Charlie were all given individual characters and effective New York accents by Max Brown, Grzegorz Todryk and Jamie Coskun respectively.

The key principal roles were all played with assurance beyond the tender years of those playing them. Especially impressive was Jennifer Tucker as Sarah Brown, who gave a beautifully pitched performance, showing a depth of acting ability and a top quality singing voice. Summer Park as the highly charismatic Miss Adelaide was close behind in quality and really made this wonderful part her own. She also sang very well indeed. Will Roberts did really well as Nathan Detroit, showing a good singing voice and an excellent New York accent. Ed Cowlard had, to my mind,  the slightly better role of  Sky Masterson and showed a welcome vulnerability at appropriate moments, whilst retaining the comical world-weariness of his character. He showed his quality tenor voice to great effect.

I was impressed with the eight Hot Box dancers (Molly Clapham, Elise Gibson, Eloise Hogben, Zoe Kirk, Suzy Lovell, Aylish Moore, Katie Palmer, and Susie Thurlow), all graceful, athletic and consummate performers. In their sumptuous costumes, they made a huge impression in several special scenes.

Costumes at KHW are way beyond what anyone could reasonably expect outside of the professional theatre. Company manager and producer Sally Dallosso is also a peerless costume maker and designer and  her dedication to this exciting and vibrant company is extraordinary, as all are well aware. Sally was helped by Linzi Park, Monica Mickels, friends and mothers of the cast in this huge endeavour. Monica and Elizabeth Callow also lent some of their own costumes. The total costume effect was magical.  

Ryan Parsons designed the highly effective sets and also stage managed alongside Grace Easthope.  John Beer on lighting and Ben Morrison on sound both did splendid work.

Other outstanding or very good principals were Simon Perry as Arvide Abernathy,  Connie Price as Gen. Matilda B Cartwright,  Olivia Routledge as Agatha, Reuben Andriesz as Harry the Horse, Owen Davis as Angie the Ox, Robert Medhurst as a cynical Lt. Brannigan, Finn James as Joey Biltmore, Zoe Kirk as Mimi, Joe Eve as  a menacing Big Jule, Oscar Ovendon as Master of Ceremonies and Havana waiter.  Cormac O'Callaghan was another waiter at Hot Box.                 

I would highlight several scenes as follows - Broadway, Hot Box Nightclub, Havana, Cuba - A Dive and Interior Save-A-Soul Mission.

Memorable musical numbers were very many, but I will, with some difficulty of choice, mention the following - Fugue for Tinhorns,  I'll Know, Adelaide's Lament, My Time of Day, I've Never been in Love Before (best of all), Luck be a Lady, Sue Me, Sit Down, you're Rockin' the Boat (marvellous!).

I must commend the Director's vision for this show and thought her direction something of a triump: the show flowed, moved me, made me laugh and left me elated after it was over. To be truthful, KHW has hit the heights once again. No wonder so many keen young people love their time spent with this company. The programme was extremely detailed, colourful and well set out and I noted the gratitude shown to KHW in the young cast's programme biogs (as well as the welcome and comprehensive notes about NODA) This is excellent news for amateur theatre on the Surrey / Kent border. Well done everyone in this special "Guys and Dolls"!

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