Book by Jo Swerling and Abe Burrows, after Damon Runyon
Musical direction by Andy Massey
Choreography by Carlos Acosta and Andrew Wright
Directed by Gordon Greenberg
It's almost startling that Guys and Dolls has hardly taken a wrinkle in its 66-year existence, because technically, it's quite specific as to place and period, and that usually puts its own limits on a show. However, the world on which it is based, Damon Runyon's wry, affectionate, bitter-sweet send-up of the seedy side of Broadway in the Depression - the street, that is, not the world of theatres - has its own timeless quality, and Swarling, Burrows and Loesser captured it perfectly in this bright and witty musical.
The setting in this touring production is a convex "shell" of patches, sections of adverts and billboards, which form a stylised outline of New York's skyscrapers, and with minimal props and fittings to suggest the night-clubs, or the mission. It's a good, clear space, well lit and quite effective without being too literal. Similarly, the period of the dress was a little uncertain - and the men had some decidedly, wonderfully gaudy suits - but nothing that jarred. It was interesting to see Carlos Acosta's name on the credits as co-choreographer. There's nothing to indicate who, of Acosta and Wright, did what, though I'd guess that the Havana club Rumba was Acosta's work, but all of the choreography was very well done, fitting smoothly into the piece at all times.
 |
| "Sit Down, You're Rockin' the Boat" © Rocking The Boat Ltd (2016) |
I was never quite happy with Maxwell Caulfield's Nathan Detroit. While he had the shabby, genial aspect down pat, there wasn't that impression of a character regularly used to talking his way out of (and into) trouble. Also, he has the bad habit of speaking - and singing! - out of one side of his mouth, which did absolutely nothing for his projection. Richard Fleeshman's Sky Masterton was better, with plenty of ironic charm and a clearer singing voice. There was a real sense of poetry in "My Time of Day". It's a pity that his best number, "Luck be a Lady", is written pretty solidly in the lower-middle register, where Fleeshman's voice tended to disappear a little behind the up-tempo, brassy accompaniment.
It was also a pity that there wasn't much chemistry between him and Anna O'Byrne, as the uptight Sarah Brown. She was at her best with her hair down in "If I were a Bell", but a little bland otherwise. Much stronger was Louise Dearman's Adelaide, showing a sure comic timing, and just the right degree of vulnerability behind the street-wise front.
However, even she pretty well had the show stolen from her by Jack Edward's excellent Nicely-Nicely. He was noticeable, in all the right ways, from the start, and it's Nicely-Nicely who gets the 11 o'clock number, arguably the best song in the show, "Sit Down, You're Rockin' the Boat". It was that number, delivered with tremendous zest, that turned what had been, up to that point, a politely friendly reception from the audience to a near-standing ovation. If the whole evening had had that degree of energy and polish, we'd all still be vibrating this time next week. As it was, it was still a pretty enjoyable evening.
[Next : 16th July]
No comments:
Post a Comment