Frank Loesser’s musical, Guys and Dolls, from 1950, celebrated its first anniversary at the Bridge Theatre last night with a press performance to showcase the new cast members.
We opted to be seated on this occasion and found ourselves in row AA – great view of all proceedings, including the orchestra opposite and what was going on during the show and interval.
Guys and Dolls has been in my life as long as I can remember. The film version from 1955 accompanied me through many bad times as a pick me up, while the National Theatre’s 1982 album was a fixture in my cassette player.
Based on the short stories by Damon Runyon, Abe Burrows’s book (building on the initial work of Jo Swerling) still sparkles, amuses, and buzzes with the lowlife of New York.
The stage version is harsher and bawdier than the film, and includes some songs that didn’t make the cut (notably “A Bushel and a Peck”, “I’ve Never Been In Love Before” and “Marry The Man Today”).
George Ioannides and Celinde Schoenmaker continue in the leading roles of Sky Masterson, committed gambler, and Sarah Brown, committed ‘mission doll’. They have both grown into their roles and display that “chemistry” referred to in the songs.
New to the cast are leading players Owain Arthur (Nathan Detroit) and Timmika Ramsay (Miss Adelaide) – first big musical leads for both. Arthur, at times, channels Nathan Lane for good comic effect; Ramsay displays exuberant energy.
With the show set in an immersive pit space where standing audience members follow the action around as platforms rise and fall, the stage crew deserve special applause for keeping the action moving and the cast and crowd safe.
Billed as a “musical fable of Broadway,” this is a good old-fashioned musical that I was watching with a big smile on my face while singing along (in my head).
Arlene Phillips’s choreography is absolutely smashing throughout whether for key moments or ensemble whilst Paule Constable’s lighting is a relevation of creativity.
Now I can see it (my last visit’s seats stopped it being visible) – you get place names to orient you, lamps, sidewalk crossings, arrows and more to pull you into the bustle of the Big Apple, and even the palazzos and bars of Havana.
Then there’s Bunny Christie’s set of platforms that set the action all around the large pit space, sometimes in two places at once. It gives a stunning focus to the show, while her costumes are carefully crafted for all.
Guys and Dolls remains fresh and surprising. It has the humour of the street and the sweetness of love, the big production pieces, and the small moments (Niall Buggy is very good as Brother Arvide).
It’s an absolute treasure that deserves its many revivals without being tweaked too much for modern audiences. The orchestrations (arranger Tom Brady) are beautiful, and the songs stand the rest of time.
Nicholas Hytner’s production of Guys and Dolls continues at the Bridge Theatre with tickets here and at other outlets.
*****
Image credit: Manuel Harlan