Previous Productions - Guys and Dolls

Guys and Dolls is the quintessential 'feel good' musical fable, replete with memorable songs and supported by an excellent story and characters. It's really a musical romantic comedy - set mainly in the murky world of gaming. From the onset this production overflowed with enthusiasm and invention. The initial street scene, introducing witty cameos including '50's film icons, was typical of the bustle , movement and interaction to follow. Another highlight was definitely the Havana scene, when the atmosphere was uncannily informal and the smells, sounds, and ambience very striking. However, overall I felt that the production was just a bit too busy: Nicely's big number was somewhat overshadowed by evocations of the sea, Titanic moments and the movement of the chorus. Singing and focus were good here, so the 'feel good factor' was a little dampened by rather too many 'ideas.' Choreography was extremely inventive - Adelaide's 'broom' moment for example, and again the evocative Havana scene - but in some numbers there was just too much of it, and again this intensity undermined the overall discipline of the production. Lack of finish was at times evident in musical direction, although solo singing was excellent.

Characterisation was very good - notably from the four leads. The chemistry between the couples was tangible - we felt Nathan's impending sense of claustrophobia and Adelaide's heart ache so very well. Sarah's vulnerability and confusion were also beautifully portrayed and I loved the underlying sense of aggression portrayed in the build up to her first kiss with Sky. Because of the assured characterisation, link between lib and song was often seamless--'-I'll know.' These very rounded portrayals were underpinned with a wonderful warmth and humour - comic potential was exploited to the full. I wasn't sure about the Big Jule characterisation: the idea of a woman was interesting, but I felt it was too hammy and the requisite unsettling undercurrent was lost.

A few difficulties with the construction of the set - the protruding central structure led to a somewhat disjointed playing area. Wonderful costumes though -period was beautifully evoked and the range of costumes was a visual treat.

There were many memorable moments in this production and the audience loved it...I just wondered whether you had tried to add to much to a very, as you say, prescriptive show. The many creative ideas were not always supported by firm technique.

Playing
Sky Masterson
An innate confidence underpinned this performance and you moved between song and lib' with remarkable ease. I believed in your growing love for Sarah - the sexual chemistry between you was evident. There was an effective subtext of aggression in your first meeting with Sarah, but I didn't always believe in the hardcore gambler: a physical stiffness undermined the 'edge' that we need to see in Sky in the earlier scenes. Very attractive delivery of 'My Time of Day.'

Sarah Brown
You have such a reactive face and I was drawn to look at your expressions throughout the whole production. The moment when you fell in love was beautiful This innate sensitivity in your characterisation resulted in an appropriate 'freshness' and naivety; physicality was excellent too - notably in the drunk scene and the very tender moment with Athaliah on the bench. A very endearing characterisation supported by well-communicated solos. Well done.

Miss Adelaide
The word that comes to mind here is consummate. Superb singing vocal - lucid communication of emotion and excellent diction and phrasing - were complemented by excellent dance movement: you created the 'gal' with vivacity and humour. Dialogue, well-articulated, was delivered with pace, giving this loveable character an alluring sense of unpredictability: quite a feat for such a well-known part. Outstanding.

Nathan Detroit
Well-cast, your youthful characterisation added humour to the portrayal and your relationship with Adelaide. I loved your gawky physicality and impactful facial play...particularly in response to the word 'married.' Effective rapport with your fellow gamblers and some very strong exits/entrances added to the portrayal. I loved it when you sat in the audience - this really drew us all into your relationship with Adelaide. Just watch clarity when speaking quickly - but this was another very rounded performance. You handled the tempo and lyrics of 'Sue Me' admirably.

Athaliah Abernathy
The age difference worked well, and there was a credibility to your relationship. Tender delivery of solo, but spoken dialogue was a little muted.

General Cartwright
A dour, subdued portrayal contributed to a clear characterisation.

Benny Southstreet
Well-cast physically, you drew on effective facial reactions and firm delivery to clearly create one of Nathan's gang.

Nicely-Nicely
You emitted just the right air of warmth and nonchalance; this physicality was complemented by very strong singing vocal.

Harry The Horse
I spotted you in the chorus before you spoke - great commitment to the part and excellent movement too. One to watch!

Big Jule
A very focused performance, you had obviously worked hard to create this feminine, more playful if also aggressive interpretation. It just didn't work for me - I felt you were playing for laughs too much by the end and some of the undercurrent of Runyon's delineation was lost.

Thank you all so much for such a lovely evening...congratulations to all of the cast who contributed to the evening with such enthusiasm and commitment. Particular mention to a very precise and credible portrayal of the long-suffering Lieutenant Brannigan: some lovely timing here.

The Rosebowl Awards for Amateur Drama and Music
April 2015

Where to start, this was theatre at its best, Guys and Dolls is the essentially American musical and since it was written in the 1950’s is one of those that has not dated and is a stable of Professional and Amateur groups. From the opening number to the finale this was a outstanding performance from all the cast, the many different numbers and routines were handled with ease from the company. The show contains so many unforgettable numbers, that everyone knows, what was good to see that Pete put his own twist on the characters and this became a show that any professional company would have to work hard to better.
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SET
An excellent set, simple but giving us the impression of New York in it’s many facets. The turn around adverts with the icons on the back was just right and meant that every scene change was done quietly and smoothly thus not impeding the action.

SOUND
For the most part this was very good, however there were a couple of hitches where the voice faded and then returned and when Kim was singing it did seem that it needed adjusting as the higher register became a little harsh.

MUSIC
Musical Director Ben Wiles is to be congratulated on the perfect sound of the orchestra always at the right levels never drowning the soloists. All the solo and chorus numbers had obviously been rehearsed well so that we could enjoy them. But where was the orchestra?

CHOREOGRAPHY
Congratulations to Lizzy Westney and Charlie Cartwright for the many different routines, the dancing was perfect and everyone was together at all times. From the brilliant opening routine creating the impression of the hustle and bustle of New York to the strip routine for the Hot Box Girls and to the excellent dances in Havana. The outstanding Luck be a Lady where dance, music and voice combine to show that these people are gambling for their souls rolling the dice in a smoky atmosphere, this was perfect choreography.

LIGHTING.
With Paul Lewis as lighting designer and his crew you know that everyone will be well lit, there were no dark shadows.

COSTUMES
The costume team led by Donna Podesta are to be congratulated they had their work cut out with the many costumes, and changes. They were excellent, colourful; from the ladies of the

Hot Box to the Salvation Army costumes every one was perfect. However, shouldn’t the men’s trousers have had turn ups?. And the Salvation Army costumes in America are red and not blue, but that is just nit picking.

MAKE-UP
Both the make-up and wigs looked natural no one looked over made up and the wigs looked natural and not out of place.

PROPS
These were in place and in period

THE CAST
SKY MASTERSON (Brendan Casey)
Brendan has the perfect voice for the songs and they were a joy to listen to, there was good interaction with Kim and we could see the chemistry between you growing as the show progressed. No matter which character that Brendan plays you know that it will be done professionally .Congratulations on yet another successful performance.

SISTER SARAH BROWN (Kim Brook)
Kim brought her own interpretation to the part, this was a different Sarah Brown, you have a strong singing voice which with the many different songs you handled with ease, however with radio mikes there is the problem that if they are not adjusted when reaching the higher registers it becomes harsh. There was good reaction with Sky and we could see the innocent naive girl falling in love for the first time and the change was handled well. A well thought out portrayal Congratulations.

NATHAN DETROIT (Dan Leese)
Dan made this part his own, this was an excellent performance your interpretation of the role was well thought out, this was a confident performance From your interaction with the other members of your gang to your relationship with Miss Adelaide this was a character who veered from confidence to the realisation that you might lose your girl friend, when your confidence failed you This was a first rate performance one that brought a different take on the role, you ducked and dived naturally, and at all times kept the New York flat accent and way of speaking, this was at all times a believable portrayal. Congratulations on an outstanding performance.

MISS ADELAIDE (Grace MacDonald)
This was a sparkling professional performance, you lit up the stage every time you appeared. Each song, routine and action was well timed you had outstanding comedy timing and every little pause, facial reaction was perfect. Your songs with the Hot Box Girls “A Bushel and a Peck and Take back your Mink” were perfect the routines were a joy to watch. Adelaide’s Lament was superb, we really felt sorry for you. There was good interaction with Nathan, you had obviously worked hard to create this character, and you kept up that nasal American accent, this was an outstanding performance,

NICELY-NICELY JOHNSON (Lee Westney)
Another first class performance Lee was Nicely-Nicely and it was good to see that you created your own character, you looked the part and at all times stayed in character. Your song “Sit down, You’re rockin’ the boat” was the best interpretation that I have ever seen, with the “Titanic” pose and being on the top of the scenery which did not look that safe this was a brilliant piece of theatre. Congratulations on a confident and convincing performance.

BENNY SOUTHSTREET (Jake Chew)
This was a first class characterisation of a New York Hustler, the accent was just right and the furtive movement added to the role. There was good interaction with Nicely-Nicely, Nathan and the other hustlers. A good strong voice and a well thought out performance Jake had obviously thought about his character, congratulations

RUSTY CHARLIE (Graham Burke) HARRY THE HORSE (Henry Clarke)JOEY BILTMORE (Alex Milner)
Each of you created a different character, good voices and you all looked right, again you all kept up that New York accent. There was good interaction with the other members of the cast and at all times you kept in character. Well done.

BIG JULIE (Amber Andrews)
The fact that Big Julie is usually played by a man, this did not detract by being changed to a woman, and Amber made the most of the part, you made it believable and you had the right attitude, I would not like to cross this character. Well done.

ATHALIAH ABERNATHY (Tina Ayres-Hunt)
I must admit that having a grandmother instead of the grandfather seems to work so well, Tina looked every bit the part and your song “More I cannot wish you “ was superb there was so much emotion and you have a lovely clear voice. You created the perfect Grandmother figure. Congratulations.

GENERAL CARTWRIGHT (Sarah Bailey)
Only a small role but an essential part of the story, Sarah looked right and had the commanding attitude of the General. Well done.

LIEUTENANT BRANNIGAN (Lynden O’ Neill)
As I said in my last critic of Lynden you are definitely being typecast, but each one has been that bit different. This was another good characterisation of a frustrated police officer; nothing ever seemed to go your way. Good attitude and movement, Well done

THE COMPANY
A good chorus is essential to any show and BAOS have just that. The large chorus were always smiling and always together in all the many roles, from Hot Box Girls who were excellent, the routine with “Take back your Mink” was a joy to watch there was at all times good harmonies, chorus work and good groupings. Everyone in the chorus stayed in character whether standing still but always part of the action. This was a star studded chorus dealing with the many different routines with ease.

Congratulations to Director Pete Cottell. Choreographers Lizzy Westney, and Charlie Cartwright and Musical Director Ben Wiles for all their hard work. This was a production that from start to finish was completely professional from the perfect casting of the main characters and the superb chorus work

Thank you for invitation and the warm welcome front of house, and I even won a raffle prize! I look forward to being invited to your next production in October. .

Tony Winstone
NODA Representative – District 13