For their latest production on the Theatre Royal stage, Nottingham Operatic Society transport us to 1930s New York, a world of gangsters, dice games and romance, as they bring to life Frank Loesser’s “Guys and Dolls”.
The play begins with a full-throttle performance of opening number “Runyonland” (named after writer Damon Runyon, on whose stories the musical is based), with the 30+ strong ensemble embodying various characters, from cheerleaders to high school jocks to petty criminals. This immediately sets the scene for what is to come, which is often a tongue-in-cheek look at Prohibition-era American gangsters, with all your usual stereotypes thrown in for good measure. The set design from Lowestoft’s Scenic Projects harks back to the golden era of Broadway musicals, with gorgeous backdrops helping to bring the static world of New York to the stage.
The main focus of the story is the budding romance between gambler Sky Masterson (Bara Erhayiem) and missionary Sarah Brown (Abby Wells), who cross paths after Masterson places an ill-advised bet. Erhayiem and Wells have strong chemistry together in their scenes, and the audience can’t help but root for them throughout, as both characters undergo transformations thanks to their chance encounter. Their scenes together are where the show is at its strongest, with stellar performances of I’ll Know and I’ve never been in love before stand-out moments from the opening act.
Alongside their romance is the story of Nathan Detroit (Rob Harrison) and Miss Adelaide (Louse Grantham-Lang), whose 14-year-long engagement is putting pressure on the relationship. The two share some incredibly funny scenes together, although their story feels like it goes round in circles a little too much, with Detroit continually attempting to avoid his impending marriage. Grantham-Lang lights up the stage during her renditions of A Bushel and a Peck and Take Back Your Mink, supported by the Hot Box Girls, although the lyrics during Adelaide’s Lament were a little difficult to catch, Grantham-Lang’s voice getting lost amongst the orchestra – although she must be commended on keeping up Adelaide’s nasal twang throughout.
The production enjoys an incredibly strong supporting cast, who shine in big group numbers which include fan favourites such as Sit Down, You’re Rockin’ The Boat (superbly led by Simon Theobald as Nicely-Nicely Johnson) and Luck be a Lady. In both instances, the choreography (Justine Lee) serves to add to the spectacle, making these numbers a true highlight of the show. If I had to make a small complaint, it would be that many of the gangsters (Owen Patten as Benny Southstreet, Jarrod Makin as Rusty Charlie, Matthew Thomason as Harry the Horse and Charlie Evers as Big Jule) were all played rather one-note, making the characters hard to distinguish from one another – although this is helped by the variety of colourful costumes (Marion Fisher and Charades Theatrical Costume Hire).
The story is strong and easy to follow, although the plot does slow down a little in the second act, with an elongated crap game and a joke about spotless dice that almost outstays its welcome. Thankfully, under the direction of Chris Sims and Rob Murray, the show quickly picks up again with toe-tapping dance numbers and a variety of background gags, making the most of the large ensemble. A special mention must go to Paul McPherson as Arvide Abernathy, for a wonderful rendition of More I Cannot Wish You, which provides one of the show’s quieter moments and a nice change of tempo from the other upbeat numbers.
Overall, this is a fun-filled evening of entertainment – a true spectacle in choreography, costume and set, with a story that has truly stood the test of time and remains just as entertaining today as when it first premiered to rave reviews in the 1950s. For lovers of classic musical theatre, this is a must-see, and I would highly recommend.
Tom Morley, October 2024
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