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Guys and Dolls
Presented by:
The Ambassador Theatre Group, Shows Inc, and Marriner Theatres
Venue:
Princess Theatre,
Melbourne
Reviewer:
Simon Parris
Date Reviewed:
5th
April 2008
“I know I’ve seen this show before,
In some old high school gym,
On someone’s basement floor”
So go the lyrics from Forbidden Broadway (Volume 3) and I expect
that most theatre fans will have seen Guys and Dolls before, but
have they ever seen such a classy, star studded, brilliantly thought
out and executed production as this?
After increasingly colourful, cartoonish, larger than life revivals,
Guys and Dolls has come full circle and is presented here with down
to earth realism that allows the characters to live and breathe as
real human beings. The production began in
London’s
West End where the Donmar Warehouse, knowing their own venue was too
small, produced the show at the Piccadilly Theatre. Director Michael
Grandage (Artistic Director of the Donmar) teamed with Designer
Christopher Oram to create this believable portrait of 1940s
New York,
where the characters provide the colour rather than the sets and
costumes.
With the lavishness and spectacle pared back, the focus is on the
story and the performers. This is where this production really
delivers. The text has clearly been approached as a play, and the
supporting characters all have their own back story and action to
support the central narrative. Unlike many modern
musicals, which are almost sung-through with their frequent reprises
and long musical scenes, Guys and Dolls has solid book scenes
without a spare word and the characters just naturally move from
spoken dialogue to songs.
Jamie Lloyd, Director of the Australian production has assembled a
stellar cast, the likes of which has not seen in a long time.
Whereas the London production engaged in stunt casting (Patrick
Swayze! Don Johnson!), to follow the success of their original stars
Ewan McGregor and Jane Krakowski, here we have an all star line up
where each performer has that rare combination of fame and actual
talent.
Lisa McCune and Marina Prior could open a show on their own (and
often have) so to have both of them on stage together is a real
treat. Prior looks more stunning every time she steps on stage
lately. At times during the Hot Box numbers you can only tell which
one she is next to the twenty-year-old chorus girls because of the
colour of her wig! McCune is exquisite as Sarah Brown. She looks
gorgeous, sings beautifully and is an absolute revelation during her
comic scenes.
Garry McDonald is worth his weight in gold for the comic chops he
brings to Nathan Detroit. He plays everything as straight and
sincere, which is of course far funnier than an over the top,
scenery chewing performance. The love and affection between Nathan
and Miss Adelaide is palpable, and the twists of their rocky romance
are keenly felt. Ian Stenlake is a handsome, confident Sky
Masterson. In fine voice, he really shines in the soft beginning of
I’ve Never Been In Love Before. There have probably been stronger
performances of Luck Be A Lady before but overall Stenlake exudes
plenty of charm, and his chemistry (yeah, chemistry) with McCune is
electric.
These marquis stars are given huge support by the sensational
supporting cast. Just look at the list of names: Shane Jacobson
(Kenny) as Nicely Nicely Johnson, Magda Szubanski (25th
Annual Putnam County Spelling Bee) as Big Jule, Wayne Scott Kermond
(Singin’ in the Rain) as Benny Southstreet, Bert Labonte (Spelling
Bee) as Lt Brannigan, Anne Phelan (Prisoner, Harp in the South) as
General Cartwright, Adam Murphy (Kiss Me, Kate) as Harry the Horse.
Jacobson also has to overcome the memory of past Nicely Nicelys (and
his own memorable performance as Kenny) but he acquits himself
admirably, showing that he certainly has the talents of a musical
theatre performer and is not just there for his name. Szubanski
looks great as Big Jule but the joke wears thin, especially as she
is required to pronounce her ‘r’s as ‘w’s. Kermond uses his
acrobatic skills to good effect and looks perfect in the role next
to Jacobson. Labonte is a bit baby-faced to bring the required
gravity to the role of Brannigan. It is wonderful to see Phelan on
stage again, especially in her second role of Isabella the barmaid
in Havana.
The last star to mention is actually a member of the production
team. Rob Ashford is one of the most highly regarded choreographers
in theatre today. (Broadway: Thoroughly Modern Millie (2002 Tony),
The Wedding Singer, Curtains, Cry-Baby; London: Evita, Parade) The
choreography for the Havana sequence is nothing short of brilliant,
particularly because not only are the moves spectacular but the
story-telling is also crystal clear. The Hot Box numbers are
re-imagined to be more fitting of a Gentleman’s Club so that both
numbers involve titillating glimpses of the girls. An exciting
vocabulary of dance is created for the underground crapshooters, and
it is fun to see good sports Szubanski, McDonald and Jacobson
joining in when required. Finally, Sit Down, You’re Rockin’ The Boat
has a joyous, spontaneous feel with none of the usual
standing/sitting on chairs to be seen. (Special mention goes to
well-known Melbourne theatre director and performer Paul Watson who
danced up a storm as Society Max. Who knew he could dance like
that!)
While audiences expecting a colourful over the top performance might
be disappointed (especially if they have recently seen Priscilla),
fans of classic musical theatre will appreciate the loving care and
the brilliant array of talent that have made this production of Guys
and Dolls a high quality, thoroughly entertaining night of theatre.
One
of our most regular reviewers, Simon has appeared in more than 30
productions over the past twenty years. Recent roles include Uncle
Henry/Guard of the Gate in The Wizard of Oz (Catchment) and Eugene
Fodor
in Crazy for You (Whitehorse). Other favourite roles include Mr Fox
in Mack and Mabel, Max in The Sound of Music, Freddy in My Fair
Lady, Julio in Paint Your Wagon, Marcellus in The Music Man and
Grantaire in Les Miserables. In 2005, Simon was nominated for a
Guild Award in the category Best Cameo Performance for his role as
the Judge in Hello, Dolly! (Whitehorse). He is also a supremely keen
audience member of all kinds of theatre, travelling biannually to
both New York and London to take in well over 50 shows during the
trip. This makes Simon the perfect advisor on ‘What to See’ and
‘What Not to See’ on the world’s greatest stages.
During his latest sojourn, he prepared the following Mini-Reviews
for our reading pleasure and as tips and
hints for those about to set off to visit the old Limey themselves.
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