Guys & Dolls

Since its inauguration in 1896, the Douglas Choral Union, DCU, has played a central role in Manx theatre and cultural life. As the society heads towards its 130th anniversary in 2026, it does so with a significant history behind it, more than 130 productions performed for audiences across the Isle of Man.  Staging a show at the impressive Gaiety Theatre is something many societies could only dream of. The scale and technical flexibility of the theatre allow companies to be ambitious, and this staging of Guys & Dolls rose to the occasion.

Set in 1950s New York, Guys & Dolls follows gambler Nathan Detroit, who is scrambling to finance yet another illegal floating dice game, and suave high roller Sky Masterson, who bets he can win over the earnest and religious focused Sarah Brown. Meanwhile, Nathan’s long suffering fiancée, Miss Adelaide, continues to wait for the wedding day that never quite arrives. It is a story full of humour and heart, exploring love, risk and redemption, all wrapped in one of musical theatre’s most distinctive and tuneful scores.

Director David Dawson chose a traditional and faithful telling of the piece. The period setting felt real, and the storytelling remained front and centre throughout. Good direction is about clarity and consistency rather than showy ideas, and that was very much the case here. Working in amateur theatre can be demanding, balancing varying levels of experience and busy personal lives while still striving for quality. The pacing was well judged. Scenes moved naturally into songs, energy levels were sustained, and the comic rhythm of the piece was maintained. In a show like this, timing is everything, and there was a reassuring sense that the story was in safe hands. At its core, there was emotional truth, which stopped the piece becoming simply a sequence of musical numbers.

Damian Kneale’s Sky Masterson was the standout performance for me. He brought easy charm and genuine warmth to the role, avoiding cliché and allowing us to see the character’s gradual change of heart. Vocally strong and physically relaxed, he carried himself with confidence while still revealing vulnerability.  Evie Skillicorn’s Sarah Brown complemented him beautifully. Her portrayal felt sincere and thoughtful, principled without being severe. The chemistry between Sky and Sarah developed naturally, particularly in their quieter scenes, which had an appealing intimacy.  Simon Fletcher as Nathan Detroit and Natalie Smith as Miss Adelaide were the show’s comic heartbeat. Nathan’s nervous energy and rapid fire delivery worked perfectly against Adelaide’s increasingly exasperated glamour. Their partnership felt believable and well balanced, with humour rooted in character rather than exaggeration. The four leads were clearly defined, Sky confident and smooth, Sarah moral and searching, Nathan anxious and evasive, Adelaide flamboyant yet vulnerable. The actors captured these differences through voice, movement and posture. Projection and diction were strong across the principals, even in the faster exchanges.  Jonathan Sleight as Nicely Nicely Johnson and Thomas Iain Dixon as Benny Southstreet formed an engaging double act.  In the song ‘Guys & Dolls’ their natural chemistry carried the number, the timing felt effortless and it had a lovely sense of flow and fun.  Jonathan Sleight’s 'Sit Down, You’re Rockin’ the Boat' was one of the evening’s highlights and a real testament to Perry O’Dea’s choreography.  The build of energy, the clever use of levels and stage space, and the tight ensemble work made it thrilling to watch. It is a deceptively difficult number, requiring stamina, rhythmic precision and strong leadership from the front, and here it was handled superbly, drawing a deservedly enthusiastic response from the audience.  The supporting cast all contributed solidly, Mark Dougherty as Harry the Horse, Geoff Pugh as Big Jule, Chris Jagus as Arvide Abernathy, Michael Bonner as Lt. Brannigan, Sarah Brew as General Cartwright, Lynsey Smith as Rusty and Nikki Craig as Agatha.  The Hot Box dancers, Jessica Sherry, Victoria Corkhill, Gaynor Denham, Millie Smith, Hannah Williams, Paula Gelling, Madison Findlay and Olivia Suwinski, looked stylish and performed with flair, fully embracing the theatrical glamour of their numbers. The Mission Band, Christopher Shimmin, Gary Corkhill, Nikki Craig, Morag Withey and Jenna Woodward, brought warmth to their scenes. The wider ensemble, Jude Fullerton, Steve Craine, Mark Denton, Vicky Brown, Tracy Erskine, Andy Williams, Stuart McLean, Zac Colligon, Andrew Kaighen, Mark Britton and Andrew Deighton, remained engaged and in character throughout, avoiding the all too common trap of disengaged background work.

Musical Director Liz Dixon shaped the score confidently, with Assistant Musical Director Bryony Grant also serving as Assistant Director playing a key role in supporting the overall cohesion of the production. The ensemble singing was particularly impressive, harmonies were clear and well balanced, and diction remained crisp.  The fourteen piece orchestra, conducted by Liz Dixon, played with assurance and style, Keyboard 1 David Holland, Keyboard 2 and official accompanist Karen Corkhill, Reeds Naomi Cole, Jenny Divers, Mike Divers and Marcus Fryer, Strings Katie Lawrence, Julie Tranter, Roy Baker and Kirsty Lawrence, Brass Juan Wright, Ash Cole and Johnny G, Percussion James Davis and Jay Young. Their playing provided energy and colour throughout, always supporting the singers on stage.

Choreographer Perry O’Dea did an admirable job working with a mixed range of abilities within the company. Guys & Dolls contains a significant number of musical numbers, each with its own style and demands, and he utilised the strengths available to him very effectively. The movement felt purposeful and appropriate to character, with more technically confident dancers given material that showcased their skills, while others were choreographed in a way that ensured they looked comfortable and secure. Dance Captain Beth Ansell ensured that standards were maintained across the run.  The Havana scene was the only moment that felt slightly less assured. While the intention was clearly to create a lively bar atmosphere, the stage felt crowded and the action a little chaotic, making it harder to focus on Sky and Sarah’s developing relationship. A touch more clarity in the staging might have strengthened it, though it did little to detract from an otherwise very strong production.

Backstage, Stage Manager Alex Armstrong, assisted by Craig Hill and Deputy Stage Manager Lucy Cain, kept the production running smoothly. There were numerous scene changes, with substantial pieces flying in and sliding on from the wings, yet transitions felt calm and controlled. That kind of smooth operation only happens with thorough preparation and strong leadership.  The scenery, supplied by Scenic Projects Ltd, was impressive in scale and worked effectively within the Gaiety’s stage space.  Lighting design by Neil Dolman of Bright Lights UK added atmosphere and focus throughout the evening. Lighting is not just about visibility, it shapes mood and guides the audience’s eye, and here it did so sensitively. Spot operators Joanna Curphey and Mike Lean supported the design with confident follow spot work.  Sound design and supply by Alex Linney of Linney PA ensured that dialogue and vocals were consistently clear. With most of the cast using headsets, maintaining balance is no small task, yet levels remained steady and reliable.  Wardrobe, overseen by Sarah Buss and Breeshey Webb, provided costumes that were appropriate to both character and era. Head of Hair and Make Up Jasmine Cowin and Phoebe Chell ensured a polished overall appearance. Wigs were generally effective, although a few of the male wigs were less convincing. If wigs are not well fitted or of good quality they can become distracting, and in a couple of instances this was noticeable.  Jude Fullerton, in the dual role of Production Coordinator and Props Coordinator, brought organisation and attention to detail to the operation. Front of House, led by Geoff Schminn, created a welcoming atmosphere for what was an impressively busy Wednesday evening audience. Artwork and social media by Grace Hoodless gave the production a fresh and appealing public face.

The audience response spoke for itself, laughter came readily, applause was warm and sustained, and there was a tangible sense of enjoyment in the theatre.  Overall, this was a confident and thoroughly enjoyable production of Guys & Dolls. Every department contributed positively, and the collaborative spirit was evident throughout. As DCU moves towards its 130th anniversary, this production stands as another strong chapter in its long and proud history.

 

© NODA CIO. All rights reserved.