Does Guys and Dolls still work on a twenty-first-century stage, even if the title may strike some as slightly sexist?
There’s no need to worry about that innuendo at all. This Guys and Dolls is the reason why we go to the theatre.
Set in 1949 Manhattan, Michael Gianfrancesco’s angular black-and-white design transforms the Festival stage and carries the audience into the world of Runyonland. I’m reluctant to describe the opening moments when the show begins because doing so would spoil the striking visual effect. It’s something best experienced in the moment at the theatre.
Nathan Detroit (Mark Uhre) scrambles to secure a venue for his illegal but notorious crap games while trying to placate his fiancée of fourteen years, Hot Box star Miss Adelaide (Jennifer Rider-Shaw), who is eager to marry. To finance the next game, Nathan makes a risky bet with suave gambler Sky Masterson (Dan Chameroy), who soon sets his sights on Sarah Brown (Olivia Sinclair-Brisbane), the dedicated sergeant of the local mission. What follows is a lively, stylish romp in which love, loyalty, luck, and charm collide.
Under the confident direction and electric choreography of Donna Feore, this opening-night performance proves an undeniable must-see. The outstanding cast delivers with such force that they seem to lift the roof off the Festival Theatre. Franklin Brasz leads each musical number with assurance and flair.
The celebrated design team makes strong artistic choices throughout.
Dana Osborne’s costumes are vibrant and beautifully detailed, from the men’s pastel pinstripe suits to the women’s textured, elegant dresses. Bonnie Beecher’s lighting sharply defines the many 1940s settings, whether a starry night in a romantic Havana bar or the hot glow of the Manhattan skyline. Haley Parcher’s sound design keeps the orchestra and voices in balance, ensuring the lyrics come through clearly.
Above all, the cast is the main reason to see the show—and perhaps even to see it again.
One of opening night’s biggest thrills will likely repeat in future performances. The Act 2 “Crapshooters’ Dance” halted the show for about 15 seconds as the audience erupted in applause, with nearly 80 percent of the house rising to its feet for the dancers’ dazzling backflips and airborne kicks. It was spectacular to watch and to experience live.
Among the production’s highlights is Steve Ross’s charming Nicely-Nicely Johnson, whose grin recalls Stan Laurel and who delivers a terrific “Sit Down, You’re Rockin’ the Boat.” Juan Chioran makes Big Jule a memorably cartoonish and imposing villain. Stephen Patterson brings warmth and wisdom to Arvide Abernathy in his lovely duet with Sarah Brown, “More I Cannot Wish You.” The Hot Box Girls, meanwhile, bring plenty of sly glamour to the seductive Act 2 number “Take Back Your Mink.”
The four leads all give polished, engaging performances in these familiar and lovable roles.
Jennifer Rider Shaw’s Miss Adelaide, with shades of Marilyn Monroe, Mamie Van Doren, and Fanny Brice’s Baby Snooks, is utterly winning as the wide-eyed, playful Hot Box star. Beneath the bleach blonde-haired baby doll surface, though, she gives Adelaide real feelings and vulnerability. In Act 2’s “Sue Me,” one brief lyric lands with particular emotional force. Mark Uhre’s Nathan Detroit is equally affecting: a kind-hearted man torn between his long engagement and the pressures of maintaining his place among the gamblers.
Dan Chameroy is impeccably smooth as high-roller Sky Masterson, bringing both vocal polish in one of the show’s iconic numbers: ‘Luck Be A Lady.’ There’s also an intriguing air of mystery in Chameroy’s Sky, and this quality is especially clear in “My Time of Day,” when he reveals more of himself to Sarah. His growing bond with Olivia Sinclair-Brisbane’s Sarah Brown becomes touching in “I’ve Never Been in Love Before,” inviting the audience to believe in their romance—at least for a while. Sinclair-Brisbane makes Sarah feisty and self-assured, unafraid to confront Sky when she believes he has betrayed her. Her empowering strength is especially evident in the musical’s final scene.
I left the Festival Theatre smiling. The cast captures the playful spirit of the 1940s with warmth and wit, evoking a world of flirtation, swagger, and ultimately redemption.
Stratford’s Guys and Dolls earns a clear Voice Choice. Donna Feore’s joyful direction brings Damon Runyon’s world vividly to life, from its quirky crooks and bold women to its earnest mission workers and sharply dressed gamblers. Her choreography is dazzling and athletic. Franklin Brasz delivers superb renditions of each of the show’s iconic songs.
Go see it.
Running time: approximately two hours and 35 minutes with one interval/intermission.
The production runs to November 1 at the Festival Theatre, Queen Street. For tickets: stratfordfestival.ca or call 1-800-567-1600.
THE STRATFORD FESTIVAL presents
GUYS AND DOLLS Based on a story and characters of Damon Runyon
Music and Lyrics by Frank Loesser
Book by Jo Swerling and Abe Burrows
Directed and Choreographed by Donna Feore
Music Director: Franklin Brasz
Set Designer: Michael Gianfrancesco
Costume Designer: Dana Osborne
Lighting Designer: Bonnie Beecher
Sound Designer: Haley Parcher
Performers: Dan Chameroy, Olivia Sinclair-Brisbane, Mark Uhre, Jennifer Rider-Shaw, Steve Ross, Stephen Patterson, Nehassaid deGannes, Starr Domingue, Alex Kelly, Chad McFadden, Bethany Kovarik, Juan Chioran, Gabriel Antonacci, Devon Michael Brown, Henry Firmston, Jordan Mah, Carla Bennett, Amanda Lundgren, Gracie Mack, Jamie Murray, Ali Powell, Alexandra Gratton, Bonnie Jordan, Jeremy Carver-Jones, Eric Abel, Alex Batycki, Wade Pierre Buller, Jarret Cody, Jordan Goodridge, Jason Sermonia, Josh Doig,
