This unusual, all-immersive revival of the deservedly popular musical is simply unmissable
‘Immersive' and 'moving' are adjectives that one might use figuratively to describe a theatrical experience. I’m using them literally here. As a promenader following the action around the ever-shifting levels on the interconnected hydraulic platforms of designer Bunny Christie’s flexible staging, I was very much immersed.
Frank Loesser’s ‘Musical Fable of Broadway’ with book by Jo Swerling and Abe Burrows, is based on the stories and characters of much-loved story writer Damon Runyon. His name has become an adjective – Runyonesque – describing his kaleidoscopic tales with their quirky characters set in New York in the inter-war period (Runyon died in 1946).
The Big Apple is further conjured by neon street signs, ads, pedestrian crossings and street furniture (illuminated by Paule Constable's versatile lighting). The 14-strong band led by Tom Brady is enthroned above, framed by theatrical lightbulbs.
The company erupts onstage in a burst of colour, the dolls in smart period hats and gloves, the guys sporting caps reminiscent of Peaky Blinders (costumes Deborah Andrews). It’s not a menacing, 20th-century ‘gangs of New York’ though. It’s exuberant comedy as the roll call of hopeful but inept gamblers, with their fun monikers like Nicely-Nicely Johnson (Cedric Neal), nicknamed for his catch phrase, shout the odds as they seek a secret venue for their illicit crap game.
Nicely-Nicely’s ‘boss’ is even more inveterate gambler Nathan Detroit. He has a roving eye, not for the girls, but for an unlikely bet he might win – did kosher cake emporium Mindy’s sell more cheesecake or strudel today? He’s asking Sky Masterson (golden-voiced American Andrew Richardson) – young, handsome and shaping up to rival Nathan with his bets.
Daniel Mays’ Nathan has just the right mix of world-weary chutzpah and expertise dodging the ball, whether it’s the cops chasing his illegal crap game, or his fiancée of 14 years, Miss Adelaide (a stunning turn from American Marisha Wallace, familiar to UK audiences from shows including Dreamgirls). Adelaide is the top attraction at the aptly-named Hot Box Club, where the dancing is of its time, scantily clad lovelies with suggestive moves (choreography Arlene Phillips and James Cousins).
Into this situation arrives the ‘Sally Army’ from the Save-a-Soul Mission, powering through the groundlings to stirring marching band music, led by no-nonsense sergeant Sarah Brown (Dutch-born Celinde Schoenmaker). And so it’s back to the search for a venue for that illegal crap game, complicated by the arrival of sinister gangster Big Jule (tall, big-voiced Cameron Johnson), brandishing his 'spotless' dice. He calls the shots – and the imaginary numbers – as the gamblers pray ‘Luck be a Lady’.
So Nathan compromises Sky into betting on whether he can entice strait-laced Sarah into flying to Havana for lunch in exchange for supplying her mission with “one dozen sinners” for the visit of Sally Army General Cartwright. What could possibly go wrong?
All this is expertly marshalled with huge flair by director Nicholas Hytner. Every musical number is beautifully imagined. Highlights include Neal’s Nicely-Nicely in ‘Sit Down, You’re Rockin’ the Boat’, his successful attempt to save the day as leader of 12 credible reformed sinners. When Nathan procrastinates yet again he spars with Adelaide in ‘Sue Me’, a duet with two opposing rhythms, one for each singer. Adelaide’s jerky, fast-paced indignation is accompanied by the neon 'walk' signs urgently flashing; while Nathan’s slow ardent pleas are accompanied by the calm red ‘don’t walk’. Finally Adelaide, the ‘well-known fiancée’, and sergeant Sarah commiserate as they feistily resolve to ‘Marry the Man Today’ and reform them later.
It’s a rollicking, polished must-see triumph.
By Judi Herman
Photos by Manuel Harlan
Guys and Dolls runs until Saturday 2 September. 7.30pm, 2.30pm (Thu & Sat only). From £19.50. Bridge Theatre, SE1 2SG. bridgetheatre.co.uk