Guys and Dolls

Guys and Dolls, in the hands of first-time director David Thomson, was a gamble that returned in spades.  His goal was to pay homage to the ‘golden age’ of musical theatre whilst challenging the moments in the script and story that, because of its age, failed to reflect where we are now as a society. Much of the inherent sexism of the original book has been subtly challenged without sacrificing the humour or vitality of the show.  The female protagonists come across as more empowered and the males are called out for their sins. Thomson has navigated this brilliantly.

From the opening chords, it was evident that the musical direction, under Andrew Castles, was rock solid. The band was balanced and highly proficient. So was the vocal direction under Samantha Hammersley. The choral/barbershop moments were particularly fine, e.g. the famous “Fugue for Tinhorns”, and “The Oldest Established Crap Game”.  The often-difficult harmonies were secure.

Individuals and duets were no less satisfying. Cecilia Hutchinson (Sarah Brown) has a delightful soprano voice. Amelia Howell (Miss Adelaide) delivered several comic turns with excellent vocal characterisation in “Adelaide’s Lament” and “Sue Me”.  The partnership of Howell and Fergus McLean (Nathan Detroit) was an outstanding casting choice.  Detroit was well characterised, physically and vocally. Deklan Haas was capable, expressing a more understated charisma as Sky Masterson.

Supporting principals were also memorable. Tom Hawkey always shines on stage and his dancing was captivating.  Josh Murray as Nicely Nicely Johnson was outstanding. As a trio McLean, Hawkey and Murray were a delight. Matthew Nelan (Arvide Abernathy) and Oliver Thomas (Lieutenant Brannigan) are also worthy of mention.

One element which contributed to the overall success of the show was the choreography.  All ensemble scenes were dynamic and varied, making the best use of the pool of talent. The opening sequence was engaging. “Luck be a lady” was compelling. The fight scene in Havanna was startling.

The set was fluidly handled, simple and versatile. Every element contributed to a highly engaging and fresh show. In a short timeframe, under trying restrictions of masks and ‘social bubbles’, David Thomson has achieved something extraordinary.

Anne Blythe-Cooper