Coming off a string of highly successful musicals, including their standout production of The Hunchback of Notre Dame, and last years Chitty Chitty Bang Bang, Nottingham Operatic Society faced high expectations for Guys and Dolls. The Big question is: Can this production soar to similar heights?
The story follows seasoned gambler Nathan Detroit, played with conviction by Rob Harrison, trying to find a location for his illegal dice game while avoiding marriage to his fiancée of 14 years. In an effort to raise the money he needs, Nathan bets Sky Masterson, played by the suave Bar Erhayiem, that he can’t persuade the missionary Sarah Brown (Abby Wells) to go on a date with him. To Nathan’s surprise, Sky takes the bet and pursues Sarah, even as she tries to reform him from his gambling ways.
Sky’s efforts to woo Sarah lead them both on an unexpected journey, revealing Sky’s hidden depth and Sarah’s willingness to take risks for love. Meanwhile, Nathan juggles his gambling schemes and commitment issues, leading to tension with Miss Adelaide, captivatingly portrayed by Louise Grantham-Lang. As the story unfolds, Guys and Dolls explores themes of love, transformation, and the clash of sin and salvation in New York City. Full of iconic songs and comedic moments, it captures the ups and downs in the city that never sleeps.
The Show’s orchestra is a highlight, delivering a wonderfully expressive and dynamic interpretation of the score. Their transitions during scene changes added to the atmosphere filling the room with luxurious, rich sounding music. The set and costume design are also standouts, bringing the glitz and glamour of 1950s New York to life. The show's best-known numbers, “Luck Be a Lady” and “Sit Down, You’re Rockin’ the Boat,” are delivered with polish and flair, showcasing the cast’s vocal strength and creativity. Both pieces bring an energy and excitement to the production that, unfortunately, aren’t sustained throughout the rest of the show.
Simon Theobald’s bold delivery of “Sit Down, You’re Rockin’ the Boat” was well deserving of the three ovations it received, it was delivered with a the brash tongue-in-cheek energy the song demands. Similarly, the desperation portrayed by Bart Erhayiem (Sky Masterson) in “Luck Be a Lady” really sold the performance as genuine.
While the songs were very well-sung, sound issues, particularly the strenuous microphone volume, detracted significantly from the experience. The excessive loudness throughout made it difficult to hear dialogue properly, resulting in punchlines and dramatic moments losing their impact. The songs, despite the cast’s talent, often sounded out of place due to the absence of reverb or effects, which left the vocals harshly exposed rather than harmoniously blended with the music. This prevented some songs from truly shining. For a small women, Abby Wells has a big voice. Her operatic tones cut through to the audience and helped to characterise her as a good little Christian — think how powerful those songs would have sounded with an epic church reverb! Given the evident vocal skill on stage, the songs should have been the crown jewels of this production.
Despite these shortcomings, Guys and Dolls does deliver an enjoyable evening, especially in the more thrilling second half. The Big question was whether this production could reach similar heights to it’s predecessors. Well, while Guys and Dolls has its moments, it ultimately falls short of the mark. At £30 a ticket in the well renowned Theatre Royal Nottingham, it’s fair to expect a bit more refinement. Guys and Dolls may not have been Nottingham Operatic’s finest, but still offers some lighthearted fun — and leaves the audience curious for the society’s upcoming production, Charlie and the Chocolate Factory.
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