STAGE VOICE/REVIEW: "GUYS AND DOLLS" @ STAGES StL
BY: ANDREA BRAUN - THEATRE CORRESPONDENT
This time, it’s all about the voices. Guys and Dolls (originally produced in 1950) is in regular rotation at The Muny and was mounted at Stages in 1995. A revival just closed in New York. It had a recent two-year run in London. In short, it’s a familiar show to most musical theatre fans, and I assume directors are always looking for ways to make it a bit different. Here that difference seems to be that this version is packed with singers, and I mean real powerhouse voices.
Of course, the dancing is fine (although it is clear that dance is not some of these performers’ main talent) but I’ve never heard a Guys and Dolls that is sung so much like “Phantom,” or “Les Miz.” That stylistic choice is a weakness at times, such as when the gorgeous Edward Watts (Sky Masterson) sings alone, but it transports us during the two ethereal duets between Sky and Sarah Brown (Kate Fisher), “I’ll Know,” (reminiscent of “If I Loved You” in mood) and “I’ve Never Been in Love Before,” which brings down the first act curtain after 90 minutes.
Guys and Dolls is a lot of fun, but for contemporary audiences, it may be too much of a good thing. It comes from a time when an evening at the theatre meant just that: a whole evening spent at the theatre. This 3-hour musical marathon can get a little dull in spots, but at least we can always look forward to another great song. Not all those songs seem to fit together ( for example, “More I Cannot Wish You” sung by John Flack as Sarah’s grandfather is a beautiful expression of his hopes for her, but it seems out of place in this show) and Miss Adelaide’s (the fantastic Julie Cardia) various laments (there isn’t just the one) can get a bit tiresome. Yet, I heard an elderly patron remark leaving the theatre that this was the best show she’d ever seen at Stages, so clearly not everyone shares my opinion about the length.
Indeed, Guys and Dolls is performed extremely well overall. As always, the gamblers are very clean. The choice was made for this production to be dominated by primary colors from the gaudy set, which is appropriate, to the bright “Dick Tracy yellow” coat on Jason Cannon’s hapless Lt. Brannigan. Brannigan keeps trying to bust the crap games Nathan Detroit (right hand man to Sky and perpertual fiancé to Miss Abigail, played by David Foley, Jr.). Foley is another fine singer, and my only objection to his interpretation of the feckless Nathan is that he seems to have relied on Nathan Lane’s rendition of the character a bit heavily. Other members of the large cast deserving mention are Steve Isom (Benny Southstreet) and Rusty Charlie (Ben Nordstrom) who provide an excellent trio with Edward Juvier (Nicely-Nicely Johnson) to open the show. Herschel Sparber is a hilariously intimidating-but-stupid Big Jule.
Abe Burrows’ libretto is fairly complex for a musical comedy. There are several plots, and while the director’s notes call attention to the fact that the Nathan/Adelaide story is a sub-plot, I think it gets as much, if not more time than the Sarah/Sky story. There’s also the running gag about the crap game (“The Oldest Established”) that plays out from the introduction of the motley crew (“Fugue for Tinhorns”) through Sky’s mustering the group for a prayer meeting at the Save-A-Soul (think Salvation Army) Mission where Sarah and her father try to get people to stop doing everything that’s fun. Zoe Vonder Haar shows up briefly as General Mathilda B. Cartwright who must be impressed so the mission is allowed to stay open. Vonder Haar’s appearance is, as always, a highlight.
But for me, the very best part of this show (and The Drowsy Chaperone, as well) is the amazing Edward Juvier. He sings, he dances, he does comedy, he inhabits Nicely-Nicely Johnson more fully than any actor I’ve seen. It’s unusual for the third male lead to have the 11 o’clock number, but Juvier steals the whole show with “Sit Down, You’re Rockin’ the Boat.” The ensemble, whose energy should be flagging by now, supports him in fine style, and this is truly a show stopper. Bravo!
Frank Loesser’s music and lyrics are mostly extremely satisfying, and Burrows captures (or maybe invents) an unusual patois for the characters—they speak Brooklynese (or Bronxese or whatever) but “Dey do not use contractions hardly never.” It’s peculiar but funny, and it works. Naturally, direction, choreography, set, lights, and all aspects of production are fine. The orchestra lends great support. It’s Stages, folks. Whatever show you see there is going to be technically impeccable (or close, there was a little body mic feedback opening night).
Stages has put on a terrific season, opening with Little Shop of Horrors, continuing with The Drowsy Chaperone, and ending on Oct. 4 with Guys and Dolls. It has been a pleasure to see them all. Thanks to Jack Lane, Executive Producer and Michael Hamilton, Artistic Director for entertaining us so well.
Stages shows sell out fast, so if you want to see this one, call the box office at 314-821-2407. For information, visit www.stagesstlouis.org.
