Guys and Dolls
Music and Lyrics by Frank Loesser, Book by Jo Swerling and Abe Burrows
Directed by Gordon Greenberg
Choreographed by Lorin Lotarro and Patrick O’Neill
The Muny
June 10, 2019
Cast of Guys and Dolls
Photo:The Muny
The stage looks bigger. That was my first impression when the Muny’s Executive Producer and Artistic Director, Mike Isaacson, appeared on the newly rebuilt stage to introduce this season’s opening production, Guys and Dolls. It’s a new era for the Muny, unveiling its newly revamped performance area and technical setup, and they’ve chosen a classic 1950s-set Broadway musical to introduce the “new Muny” to the audience. I’m not sure if the stage really is any bigger, but it looks big, shiny, and new, but what’s not new is the expectation of an excellent show, and the Muny has delivered that with an energetic, fast-paced and thoroughly entertaining production of this well-known “musical fable”.
Guys and Dolls is a show of its time, and that time is the early 1950s. The place is Damon Runyon’s stylized New York City. It’s not supposed to be gritty and realistic. It’s broad comedy, for the most part, and the sensibilities can be jarring to 21st century eyes. The focus is on gamblers and the women who probably shouldn’t love them, but do anyway. Nathan Detroit (Jordan Gelber) is the proprietor of a notorious “floating crap game” who, along with his cohorts Benny Southstreet (Jared Gertner) and Nicely-Nicely Johnson (Orville Mendoza) is eager to find a new place to host the game while they avoid the watchful eye of the persistent police Lt.Brannigan (Rich Pisarkiewicz). He’s also been engaged for 14 years to the increasingly exasperated nightclub dancer Miss Adelaide (Kendra Kassebaum), who is nursing a frequent cold apparently brought on by her stress over the situation. Meanwhile, high rolling gambler Sky Masterson (Ben Davis) is in town, and in order to secure the money he needs for his crap game location, Nathan makes a bet with Sky, involving the pious young Sarah Brown (Brittany Bradford), who works for the struggling Save-a-Soul Mission. It’s a show full of larger-than-life and deliberately broad characterizations, with stereotypical gamblers and visions of New York City, along with a great score and lots of energetic dancing.
One notable fact, casting-wise, about Guys and Dolls is that there are four equal leading roles. It’s not a lead couple and a supporting couple. All four roles–Adelaide, Nathan, Sarah, and Sky–share the same prominence, and the casting for all four is essential. The roles here are memorably played, and the chemistry (“yeah… chemistry!”) is excellent. Davis and Bradford show off strong voices in their roles, and Bradford shows strong comic ability with her fun rendition of “If I Were a Bell”. Gelber is fun as a the marriage-avoidant and crap-game obsessed Nathan, and Kassebaum conveys Adelaide’s increasing weariness along with her genuine love of–and exasperation with–Nathan with impressive presence and energy, delivering a strong rendition of “Adelaide’s Lament” especially. The supporting players are well-cast, as well, led by Mendoza and Gertner who make a fun comic team, and by beloved Muny regular Ken Page in a charming turn as Sarah’s kind, devoted grandfather and co-worker at the mission, Arvide Abernathy. There’s a vibrant, energetic ensemble as well, contributing to dazzling group numbers like “Sit Down You’re Rockin’ the Boat” and “The Crapshooter’s Dance”, which also showcase the dynamic choreography of Lorin Latarro and Patrick O’Neill.
Technically, this production is wondrous, making the most of the new capabilities of the new and improved Muny stage. Paul Tate dePoo III’s stylish, colorful set shows off the neon boldness of old-school New York, aided by the excellent video design by Nathan W. Scheuer and lit up brightly by lighting designer Rob Denton. There are excellent, vividly styled period costumes by Tristan Raines, as well. There’s also a great Muny Orchestra and music direction by Brad Haak that bring Frank Loesser’s classic score to life with verve.
Guys and Dolls is a fun show. It’s big, bold, and full of energy, filling the Muny’s enormous stage with stylized characterizations and energetic singing and dancing. I’m not sure if the new stage really is bigger, but it seems that way, and it certainly looks newer, with some new aspects that add to its versatility. It’s a new stage for a new era, and Guys and Dolls is ushering that new era, and the Muny’s 101st season, with style.
Cast of Guys and Dolls
Photo: The Muny
The Muny is presenting Guys and Dolls in Forest Park until June 16, 2019
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