Review – Guys and Dolls (2008)

“Guys and Dolls still Fun”

Published: November 27, 2008

It’s the big swing sound coming from the orchestra pit (under the able direction of Hilary Coupland) that sets the stage even before the curtain rises on the Victoria Operatic Society’s Guys and Dolls. By the time the opening number—“Fugue for Tinhorns,” where three small-time gamblers layer their voices and belt it out—is over, you are hooked into the world of New Yorker Nathan Detroit (Tim Barss), organizer of a floating craps game, who bets fellow gambler Sky Masterson (Jeff Stephens) that he can’t take the do-gooder Mission sergeant Sarah Brown (Tara Britt) to dinner. Along the way, Nathan tries to prevent his doll, long-suffering Hot Box Club showgirl Miss Adelaide (Colleen Sullivan Mares), from finding out about the game.

Mares’ Adelaide and Stephens’ Sky are the hands-down standouts in this production. Mares’ accent is spot-on and her comedic timing (important for the razor-sharp dialogue), hilarious facial expressions and infectious giggle are a delight to watch. Stephens confidently steps into the role of Sky, the smooth operator, who, oozing charm, begins to work on Sarah’s resolve. His strong, clear voice and stage presence carries many of the scenes and manages the songs with ease—particularly the powerful and energetic “Luck Be a Lady” with his fellow gamblers in the sewer.

The other leads seemed to have a tougher time with the characters. Britt (sounding a little too operatic for this material) is in sharp contrast to her fellow singers, who seem to be more comfortable with this style of singing. She does shine throughout her tipsy moments (not an easy task) during a hilarious café scene. Barss’ performance is a little uneven and puzzling. I couldn’t make out what he was doing with his voice or accent (perhaps watching Frank Sinatra in the movie role ruined it for me) but he breezes capably through his songs.

That said, the ensemble pieces, especially Jessica Hickman’s choreography during the sultry dancing sequences at the Havana café, are particularly strong. From the orchestra’s opening Cuban drum beats to the heat on the dance floor, the adrenaline runs high and carries through to a later scene when the Hot Box girls cheekily disrobe (much to the squealing collective delight of the audience) for their number “Take Back Your Mink.” Jessica Kalan’s costumes, which included cool orange shirts with black vests and pants in the Cuban scene, plaid suits in the New York scenes and the showgirl outfits, all reflected the particular time period well. John Britt’s set was nothing to write home about except during the Havana scene, which was fantastic with palm trees, small covered tables and sexy lighting—it really felt like Havana (and I have been there).

All in all, fans of the original Broadway musical won’t be disappointed in this capable rendition.