Who doesn’t love “Guys And Dolls”?
Anybody who doesn’t know the score, I suppose. There may be some sad sacks out there in audience land who can resist Frank Loesser’s amazing music and lyrics, or Jo Swerling’s and Abe Burrows’ book based on stories by Damon Runyon, but I haven’t met them and probably I don’t want to.
Any production of “Guys And Dolls” isn’t much of a gamble: there’s about as much chance you won’t like it as there is a chance that Big Jule’s dice ain’t loaded.
The plot is elegant and easy to follow: Broadway gambler Nathan Detroit has spent decades hosting “the longest established permanent floating crap game in New York.” Tonight is a big night, with high rollers in town, but he can’t find a spot unless he can come up with one thousand smackers. Enter big shot Sky Masterson, who bets Nathan a thousand dollars that he, Sky, can persuade any dame in the world to go with him to Havana. When Nathan picks Salvation Army style street missionary Sarah Brown, trouble follows. A charming sub plot involves Nathan’s 14-year engagement to night club performer Adelaide, who has had enough.
It’s all an excuse for Runyon’s wildly idiosyncratic and entertaining take on Broadway lingo, and some of the greatest songs ever to hit a Broadway stage.
The company at Sonoma Arts Live “can do” – their effort is admirable. As love-birds Sky Masterson and Sarah Brown, husband-and-wife team Andrew and Maeve Smith are pretty much iresistable. Their chemistry is plenty hot enough. A century ago, they would have been touring the country in Vaudeville. They both have thoroughly engaging voices, and the lady hits some amazing highs.
As Nathan Detroit and his too-often-jilted fiance Miss Adelaide, Skyler King and Jenny Vielleux get plenty of laughs. Vielleux has played “Miss Adelaide” multiple times and it shows – in a good way. She is perfectly in control of the material. King’s performance of “Sue Me” is a delight.
As for the rest of the company: they rise sufficiently to the occasion. Tyler Ono, a fifteen year old prodigy, is a triple threat standout in the chorus who is, no doubt, going to be a theatrical lifer. Broadway will call sooner or later, or I’ll eat my hat.
Note to the program designer: It is customary, with musicals, to list each song in the program, with credit to the performers. It makes it much easier for a reviewer to keep note of highlights, and is an aid to the memory of those who keep programs as souvenirs. A quibble, but one worth considering, I hope.
Take it from a handicapper who’s real sincere: Quibbles notwithstanding, if you buy a ticket for this production of “Guys And Dolls,” you’ll be making a safe bet.
“Guys and Dolls” plays at the Sonoma Community Center through July 30, 2023. For further information click here.
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Rating: *** (For an explanation of Theatrestorm’s rating scale, click here.)
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“Guys And Dolls” presented by Sonoma Arts Live. Music and Lyricws: Frank Loesser. Book: Jo Swerling and Abe Burrows. Director: Larry Williams. Musical Direction: Sherrill Peterson. Choreographer: Liz Andrews. Light Design: Frank Sarubbi. Soun Design: Laurynn Malilay. Properties Design: Allison Sutherland. Set Design: Gary Gonser. Costume Design: Barbara McFadden & Sylvia Gregory.
Cast:
Miss Adelaide: Jenny Vielleux. Nathan Detroit: Skyler King. Sarah Brown: Maeve Smith: Sky Masterson: Andrew Smith. Nicely Nicely: Jonathen Blue. Benny Southstreet: Owen Hardisty. Arvide Abernathy: Dan Monez. General Cartwright: Jaime Love. Agatha-Mission Band: Sue Martin. Martha-Mission Band: Reina Gibbs. Calvin-Mission Band: John Gibbons. Big Jule: Rick Love. Harry the Hore: Scott Slagle. Lt. Brannigan: Ron Lam. Vernon-Hot Box Girl/Crap Shooter: HariettePearl Fugitt. Allison-Hot Box Girl/Crap Shooter: Chelsea Smith. Mimi-Hot Box Girl/Crap Shooter: Emma Sutherland. Hot Box Girl/Crap Shooter: Hannah Passanisi. Waiter/MC/Crap Shooter: Tyler Ono.
Orchestra:
Musical Director/Keyboard. Sherill Peterson. Drums: Steve Cohen. Bass: Elaine Herrick. Trombone: Jeff Bernard & Joe Pandolfo. Violin: Lisa Doyle. Reeds: Alex Peters. Trumpet: Dave Lindgren.
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