All photos by Diane Sobolewski
Goodspeed Opera House starts its
new season under the guidance of executive director Michael Gennaro with the
same style, spirit and professionalism that marked the productions of the
Michael Price era. Its first offering is Frank Loesser’s “Guys and Dolls,” one
of the most successful of the Broadway musicals of the 1950s. It’s easy to see
why the original show ran for 1,200 performances, and why this revival will
please audiences throughout its two-month run. The show is well cast, artfully
directed by Don Stephenson, and boasts an eye-catching set and period perfect
costumes.
Based on several Damon Runyon short
stories, with a book by Jo Swerling and Abe Burrows, the musical focuses on the
Big Apple’s demi-monde, with a cast of characters that belie their low-life
pursuits by speaking in heightened prose that attempts to mimic, they believe,
the rather stilted palaver of the upper-class. It opens with a street scene
that, though effectively choreographed by Alex Sanchez, seems to be just a bit
too over-the-top in terms of entrances, exits and some exaggerated body
language. Things quickly settle down as three gamblers, Nicely-Nicely (Scott
Cote), Benny (Noah Plomgren) and Rusty (Jordan Grubb) sing of sure things and
safe bets based on “reliable” tips from touts. The goings-on are interrupted by
a Salvation Army-style band seeking to save any lost souls to be found on 42nd Street .
As the band members sing “Follow the Fold,” Sarah Brown (Manna Nichols) hands
out pamphlets to no effect, mainly because many of the street’s denizens have
bigger things to worry about than their souls: they need to find a venue for
their crap game.
Tony Roach and Manna Nichols
Hosting and backing “The Oldest
Established” crap game in New York
is Nathan Detroit (Mark Price), who is currently without the funds to book the
Biltmore Garage for the game. Detroit
has another problem in the curvaceous form of Miss Adelaide (Nancy Anderson),
his girl-friend of 14 years who yearns to be married. However, the crap game
takes precedence, and the only way he can see clear to getting the funding is
to bet the famous gambler and womanizer, Sky Masterson (Tony Roach) that Sky
won’t be able to take the prim and proper Sarah on a one-day jaunt to Cuba.
Thus, the scene is set for some
memorable numbers, including “I’ll Know,” “Guys and Dolls,” “If I Were a Bell ” and “I’ve Never Been
in Love Before.” A possible problem in staging such a well-known musical is
that many of the numbers are so tightly attached to and associated with the
characters who sing them that even the slightest miscue is noticeable.
Fortunately, the miscues in this production are few and far between.
Although Price sometimes borders on
eating the scenery, his character’s relationship with the much-put-upon Miss
Adelaide is pitch-perfect, and his “Sue Me” a delight. Nichols’ Sarah is suitably repressed as she
disdains Sky’s overtures, so her “If I Were a Bell ,” with her inhibitions loosened by
liberal doses of Bacardi, can’t help but bring broad smiles to those watching.
Equally effective is Cote in the role of
Nicely-Nicely (it doesn’t hurt that Cole bears a passing resemblance to Stubby
Kaye, who created the role on Broadway). He, along with Plomgren, sells the
“Guys and Dolls” number and leads a rousing “Sit Down You’re Rocking the Boat”
near the end of the second act.
Scott Cote and Noah Plomgren
If, at moments, Roach seems
somewhat studied and a bit too controlled in the role of Sky – of all the
Runyonesque characters he seems the least able to deliver the specialized argot
-- he certainly exudes suavity, though
there seems to be less than total chemistry between his character and that of
Sarah’s. However, as lead male he has little trouble commanding the stage and
delivers on “Luck Be a Lady.”
Nancy Anderson
As memorable as all of these
characters are, “Guys and Dolls” is really Miss Adelaide’s show, and the
actress selected for the role has to be capable of creating a rather mixed
aura, a blend of naivete, world-weariness, and sexuality with just a touch of
innocence. Anderson
does all of this and more, creating a Miss Adelaide you wish had been given
more scenes. Her “Lament” is priceless (watch her eyes as she attempts to
figure out the true meaning of the psycho-babble she is reading – they move to
the beat of the orchestration). Her rapid-fire rage at Nathan in “Sue Me”
accents the comedy in musical comedy,
and she is the energizing force in her character’s duet with Sarah, “Marry the
Man Today.” Her performance will be the major factor in generating positive
word-of-mouth about the production.
It’s good to know that Goodspeed
remains on target. “Guys and Dolls” will please multiple generations: those
familiar with the show and the era it depicts and those new to musical comedy.
It’s bright, well-paced, and, as is true of most Goodspeed productions,
exuberant. It’s a cliché, but you will leave the theater humming a favorite
tune, and on the drive home consider going back for a second dose, perhaps
inviting a friend with whom you’d like to share two hours of the type of escape
for which American musical theater is justly famous.
“Guys and Dolls” runs through June
20. For tickets or more information call 860.873.8668 or visit: www.goodspeed.org.
No comments:
Post a Comment