GUYS AND DOLLS
The New Wolsey Theatre, Clwyd Theatr Cymru and Salisbury Playhouse
until April 16th
then at the Playhouse, Salisbury, 28th April - 21st May
A score of the best actor-musicians, three of the best regional producing houses, and one of the best musicals ever to come out of Broadway.
Guys and Dolls, on its way from Wales to Salisbury, is at the New Wolsey Ipswich till April 16.
It's a stunningly successful production, with due respect given to Runyon's story and Loesser's songs.
We start on a New York thoroughfare - neon signs in steep perspective to a skyscraper vanishing point – with eight hoods bearing menacing instrument cases. Six brass, two reeds, and we're into the overture, which has more incident, more characters than many shows can boast in the whole of their First Act.
What amazing characters they are, the “evil-looking sinners” especially: lovely, lived-in faces marked by careers in big-time crime. Harry the Horse, of course [Kraig Thornber], and his portly partner in crime Nicely Nicely Johnson [Gavin Spokes], never without a handy snack. Their duet in the title number was immaculately done.
Terrific versatility further down the billing: Susannah Van Den Berg, to name but one [last in Ipswich with the Spend, Spend, Spend tour, I think]. She was a General in the Salvation Army, a hoofer in The Hot Box, a hooker on the street, and did two hilarious turns as an air hostess to cover the Cuban scene change.
Oh, and she played clarinet and sax in her spare time. Many of the lesser characters made up the free-flowing band, beating the drum for Jesus or standing around like so many subway buskers.
I'd also pick out Nick Lashbrook's Brannigan, Paul Kissaun as an imposing gangster on vacation from Chicago, and Johnson Willis as the gentle Abernathy - “More I Cannot Wish You” movingly done.
The two central couples were nicely contrasted. Brilliant character comedy work from Ben Fox and Rosie Jenkins as Nathan Detroit and his Miss Adelaide, and star-crossed Sky Masterson [Robbie Scotcher, comparatively lacking in charisma] and his Sally Army Sergeant Sarah [Laura Pitt-Pulford, whose vocal style was impressive].
The big show-stoppers were delivered with style, energy and imagination. The Crap-Shooters' Ballet in the sewer, Sit Down You're Rocking The Boat, with its shipwreck simply suggested [and a wind quartet of Mission girls], and the finest Havana sequence I've ever seen, when Miss Sarah gets her first taste of paradise, and takes her first faltering steps down the primrose path …
This enterprising co-production of the much-loved Musical Fable, directed by Wolsey regular Peter Rowe, has been attracting packed houses and glowing notices as it visits each venue. See it, and you'll soon understand why.
this piece first appeared on The Public Reviews
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