GUYS AND DOLLS is the consummate American musical. Set in New York, it contains all the
brash sounds of the city and attitudes of the “gangstas,” “gamblas” and
underworld characters written about so vividly by humorist and author, Damon
Runyon. From the horseracing
betting open number (“Fugue for Tinhorns”), to street preaching of the mission
band (“Follow the Fold”), this is a farcical look at what makes the “Big Apple”
the fast paced and outlandish place that it is.
Runyon’s short stories, THE IDYLL OF MISS SARAH BROWN and
BLOOD PRESSURE, form the basis for GUYS AND DOLLS. Frank Loesser’s lyrics and Abe Burrows’ book, integrate
together to make this a well written musical, and earning it the fourth spot on
the list of the “Top 100 Musicals of All Time.”
Probably no one knew New York as well as Runyon. In fact, the adjective “Runyonesque” refers
to the well etched characters and the type of situations and dialogue that
Runyon depicted.
The story line centers on local gamblers, plus a
big shot from Chicago, all depending on Nathan Detroit to set up “The Oldest
Established Permanent Floating Crap Game in New York.” Unfortunately, Nathan doesn’t have the
$1000 payment for the place. He
bets Sky Masterson that the handsome professional gambler can’t get a date with
Sarah Brown, the up-tight moralistic leader of Times Square mission. To add to Nathan’s problems, Miss
Adelaide, his long time fiancée, is determined to get married, right now
(“Adelaide’s Lament”)! Of course,
in the end, as happens in all good musical comedies, everything turns out right (“Marry the Man Today”).
The strong score includes “I’ll Know,” “Guys and
Dolls,” “If I Were a Bell,” “My Time of Day,” “I’ve Never Been in Love Before,”
“More I Cannot Wish You,” and “Sue Me.”
The show has stories that make for theatre lore. For one, Vivian Blaine was originally
cast as the conservative Sarah.
When it was determined that she was not right for the role, the part of
Miss Adelaide was written specifically for Blaine’s comic talents. In addition, the show was selected to
be the winner of the 1951 Pulitzer Prize for Drama. But because writer Abe Burrows was censured by the House
Un-American Activities Committee, the award was never given and there was no Pulitzer
Prize for Drama awarded that year.
For GUYS AND DOLLS to be completely successful
requires a personal understanding of Runyon’s New York. Unfortunately, director Tadeusz
Bradecki seems unschooled in Big Apple shenanigans and dialect. The production is too leisurely paced,
lacks the necessary razzle dazzle, “duh” characters don’t “tawk” right, and the
show lacks spontaneity. This is
New York, not Toronto! New Yorkers,
especially the shady characters of this script, simply aren’t as proper and
nice as the Canadians who are playing them on the Shaw stage.
This isn’t to say the show is bad, just not
everything it should be. The
choreography is well conceived, the orchestra is excellent, and the costumes
are era correct.
Jenny Wright steals the show as Miss Adelaide. Her versions of “A Bushel and a Peck,” “Adelaide’s
Lament,” and “Take Back Your Mink” are all show stoppers. “Sue Me,” her duet with the delightful
Shawn Wright (Nathan) was a fun filled romp.
Thom Allison does a great job with “Sit Down You’re
Rockin’ The Boat.” Handsome Kyle
Blair physically and vocally fits the role of Sky Masterson. His “Luck Be a Lady,” was well
sung. Peter Millard (Arvide
Abernathy) does a nice rendition of “More I Cannot Wish You.” Unfortunately,
Elodie Gillett has none of the under level warmth nor charm needed for Sarah
Brown and gives a surface level performance.
Capsule
judgement: GUYS AND DOLLS is a
pleasant production, but lacks the dynamics and Runyonesque qualities to
make it a great show. Too
bad. With a little bit of Yankee
flair, it could have been excellent.
“More I Cannot Wish You.”
GUYS AND DOLLS runs through November 3 in
the Festival Theatre. For more information or to purchase tickets, visit www.shawfest.com
or call 1-800-511-7429.
