Today’s post examines a performance which transported me back to the age of the Golden Musical. This blast from the past was enjoyed thoroughly by my pensioner companions – who can blame them? It was a matinee… – who were probably dreaming of Brando and Sinatra as they watched. That’s right: I’m talking Guys and Dolls.
For those who can withstand the political incorrectness of a show which likens its female stars to tiny dress-wearing play toys, Guys and Dolls is fun to watch and a staple of theatre classics. At this performance, I enjoyed the luxury of a cheap seat at the beautiful Savoy Theatre, where Guys and Dolls will soon terminate its run and move to the Phoenix Theatre. If you’ve never seen it before, why not take the night off to doll yourself up – whoops! I mean dress comfortably in a manner which reflects your preference as a free-thinking individual – and enjoy the excitement of Guys and Dolls for yourself.
Date of viewing: 23/02/2016
Production: Guys and Dolls
Seat: Grand Circle, K 11
How cheap!?: £15 (offer via ‘Time Out’)
Guys and Dolls is a classic tale of the unlikely love between Salvation Army missionary, Miss Sarah Brown and seasoned gambler, Sky Masterson. A suitably fanciful series of events leads Sky to wager the souls of his gambling, sinner chums in order that they might make an appearance at one of Sarah’s apparently failing ‘Save-a-soul’ mission meetings. One such sinner is a mister Nathan Detroit, who entertains an unusual love story of his own. Nathan’s fourteen year engagement with night-club singer, Miss Adelaide, has spiralled out of control as Adelaide herself struggles between her desperation to become Mrs Detroit and an overgrown lie to her mother that she is a happily married mother of five (with one on the way!) As is the custom with many a good ol’ musical, love conquers all and these two contrasting love affairs conclude just as magically as we would hope.
“Sit Down You’re Rocking the Boat…the hottest number of the show”
This performance showcases a competent cast – particularly showing off its ensemble members and male characters. Jamie Parker playing Sky Masterson has the tough task of competing against suave Marlon Brando who played the role in the 1955 film version, but takes on the challenge with gusto. Jamie is cool and sleek in his portrayal of the champion gambler and boasts a smooth, dreamy singing voice (even if his New York accent was, at times, questionable). His performance of the theatrical epic Luck Be a Lady was particularly ravishing and left his audience swooning. Nathan Detroit is played by David Haig – who, unfairly, is a fair bit older than Sinatra was when he played the role – with good humour and personality. David is suitably emphatic and truly loveable in his portrayal of Nathan (even though he frustrates us by his reluctance to marry his fiancé Adelaide!) As has been aforementioned, this show is one for the boys! Gavin Spokes as Nicely Nicely Johnson deserves my sincerest applause for his rendition of Sit Down You’re Rocking the Boat which was without a doubt the hottest number of the show. The performances from these well rounded men trump considerable those offered by the dolls.
Whoops!, did it again – women.
Unfortunately, I fear this performance was suffering from a more serious ailment than solely Adelaide’s cold (which is famously caused by her fiancé Nathan’s reluctance to set a wedding date). I believe the performance I describe suffered from a case of ‘matinee-tis’ – the primary symptom being the reserved utilisation of vocal intensity which is otherwise typical of an evening performance. It is no surprise that one should expect a different atmosphere at a matinee – (afternoon rather than evening) – performance, but I am disappointed to report I felt as though both Sophie Thompson (as Miss Adelaide) and Siubhan Harrison (Sarah Brown) were more restrained in their singing than they would choose to be for an evening performance. This was certainly a real shame, as both characters have powerful hit songs which were not given the oomph they deserved. That being said, both performers maintained stylistic attributes which delighted the audience in other ways. Sophie plays Adelaide as a successful comedienne and has masterful control over an array of emotional states. Her nasal vocal quality is both infuriating and delightful, as is warranted from the part, and her stage presence is strong. Siubhan plays the contrastingly ‘sensible’ Sarah Brown with sensitivity but not without strong assertion. Her developed accent was particularly believable and her demeanour matched that of any beloved Broadway show sweetheart.
“suffered from a case of matinee-tis”
That which particularly excited me during this production was the magnificent choreography. I hadn’t considered Guys and Dolls to be a necessarily dance-y show, but was enthralled by the three prominent dance numbers which feature excellent choreography by Carlos Acosta and Andrew Wright. Movement and dance was extremely well suited to the show’s overall style, providing a sense of continuity and incorporating a sort of old-time slapstick feel which gives the dancing a purposeful, mischievous character of its own.
I was similarly impressed by this production of Guys and Dolls’ set design. The stage was widely uncluttered and, in truth, generally uninventive in terms of props or scene changes. But, what stands out in my mind as a consistent grounding of the show’s identity was the enormous arch of lit-up advertisements which haloed the often minimal stage. This feature made no attempt to emulate or depict a Broadway street scene. Rather, in a remarkable way, it became Broadway itself: embodying the commercialism, illuminating nature and almost heightened heavenly presence of Broadway – without feeling the need to visually portray buildings, pavements and the likes. Tony award winner Peter McKintosh is the one responsible for this clever trick.
Guys and Dolls is a show bursting with musical classics which builds significantly upon the foundations of modern musical theatre. It is a true embodiment of the word cool and shows off some outstandingly successful and famous songs. Although this show is an unquestionably historical masterpiece, my primary suggestion would be to avoid a matinee performance – exposure to the half-hearted singing of matinee-tis risks making you feel as run down as poor, unmarried Adelaide.
the girl sitting in the cheap seats