Premiering on Broadway in 1950 Guys and Dolls is a time capsule of the prevailing views of the time back in Nu Yawk city where sinners run riot with their gambling and their boozing while the dolls dance in the clubs and, in the case of Miss Adelaide (Jenelle Russo), want to finally tie the knot after a 14 yearlong engagement to hustler Nathan Detroit (Ben Mullings) who is more interested in where to host his next craps game. To complicate matters, Sarah Brown (Hannah Charlotte) from the local mission strives to save these poor sinners' souls but instead encounters the smooth talking Sky Masterson (Lochlan Curtis), a renowned gambler, who is entangled in Detroit's schemes.
That's the simplest of descriptions for what is considered one of the great musicals which has a lot of story strands going on that eventually collide in, to no one's surprise, a happy ending. The comedy is broad, the lessons learned pretty earnest, however, there is some throwback sass, an infectious score, and several famous songs to have your dice-throwing hand tapping away merrily.
It is long though - almost three hours with an interval - which is a fascinating reflection of the storytelling rhythms from over seventy years ago. It takes forever to set up 'the bet' around which most of the action revolves and it isn't shy about reinforcing its story beats throughout a scene or in the reprise of a song. Oh, what a modern day editor might do if given the chance! All that being said, there is much to admire about the show with this production pulling out all the stops.
Ben Mullings makes for a good-natured Nathan Detroit who's hard not to like as he tries to navigate his way through the perils of the law and matrimony with seemingly equal disregard for both. There's always the sense Detroit is in over his head, especially when he's being fleeced by Big Jule (Pear Carr), but he takes it on the chin and we root for the guy. I mean, Detroit has a growing fictional family to support, after all!
Jioji Nawanawa immediately captures the attention in an expressive performance as Benny Southstreet with good comic instincts and a soulful voice which he demonstrated to further effect in the lobby at intermission. A classy touch as he sang standards with such passion - Feeling Good was spinetingling! I understand cast member Hallelujah Selepe did likewise onstage and they swap those locations each show.
Jamie Jewell is all sleek amiability as Nicely-Nicely Johnson before he explodes into peak song and dance mode with Sit Down, You're Rockin' The Boat, a true showstopper in the home stretch. Clayton Van Dijk plays along gamely, his broadly sketched policeman, Lieutenant Brannigan, always one step behind the ongoing shenanigans.
You might be thinking that's a lot of guys and not a doll in sight until we get to Jenelle Russo's Miss Adelaide who's the star attraction of the Hot Box club and increasingly distraught at her marathon engagement to Detroit. Part lovable and ditzy; part feisty and forlorn, it's a showy role with Russo playing well against Mullings, with Adelaide's Lament a highlight. There's some inventive letter writing back to mother and a certain allergic reaction, both of which are played for reliable laughs.
On the other side of the ledger, Hannah Charlotte, who sang so beautifully in last year's The Sound of Music, excels again vocally while playing a buttoned-downed character in Sarah Brown who is beguiled and dismayed by Masterson. Charlotte has some lovely moments with Geoffrey Leeder who plays her character's grandfather; gives a glimpse into what Sarah might become free from the strictures of scripture in the Havana sequence; and generally conveys the mixed emotions of a devout person falling for someone way outside her comfort zone well.
Lochlan Curtis lends a touch of the matinee idol to Masterson in a suave turn that is quite captivating. While the swirl of gangsters and ne'er-do-wells is rough-edged, Curtis turns on the charm when needed yet convinces us that maybe there's something more to this smooth crooner as Sky seeks to redeem himself. Croon away he does until Curtis kicks it up a notch with Luck Be A Lady, a highlight on which so much of the ensuing story rides.
Others to stand out include Thomas Dimmick as Harry the Horse who radiates a steely confidence and hint of menace; Sarah McCabe as a stern General Cartwright who threatens to close down the mission; and Pear Carr throws his weight around quite literally as the out of town mobster who doesn't like to lose.
They're supported by a large ensemble that adds scale and glamour as well as fleshing out the world in colourful detail. And colourful it is with excellent work by Costume Designer Lyn Leeder in creating that 50s type gangster look, all suits, vests, and bowties for the guys; the various bold dance outfits for the dolls in era appropriate fashion; and the more sombre attire for the mission members. Augmented in wonderful style by the Makeup, Hair & Postiche Design of Yvette Drager Wetherilt who continues to show why she was inducted into the ITA's Hall of Fame this year.
The set by Pear Carr is multi-tiered and uncluttered to allow such a large cast to roam freely in depicting facets of everyday New York life or bring the razzle dazzle in big production numbers. The main features are multiple neon signs that clearly delineate where we are in the city and the bold lighting design of Kat Brieden and Chloe Palliser which accentuates all that 'sin' going on. These elements, along with Connie Wetherilt's lively choreography, ensure that when the show hits its straps it's an entertaining ride. Van Der Westhuizen keeps proceedings moving as quickly as possible with a certain rhythm as we move through the different story strands.
Musical Directors Taui Pinker and Tara Oorjitham do an excellent job with strong vocal performances across the board, led by Charlotte, while the band attack the brassy score with flair. Sound design by Jonathan Hoey is top notch and ensures that all the lyrics and dialogue, even when the broadest of accents is being used, is clear throughout.
While the pace and style of the storytelling at times felt very old-fashioned, there's no doubt that this is a bright and bold staging of an acknowledged classic. If you're a fan of big Broadway musicals of yesteryear it's another strong outing for Koorliny.
Photos by Mark Labrow Photography
