Page 35 - Real-Rochdale-07

Guys and Dolls leaves audience wanting more

Often described as a template for the modern musical,
Guys and Dolls is about to turn 70 years old and is an
audience favourite with young and old alike.

Judging by the audience reaction at the Curtain
Theatre, this musical shows no sign of waning in
popularity as Whitworth AMDS sang and danced their
way through fourteen songs that feel as familiar as the
characters portraying them.

Set-in post-war New York city, this evergreen tale is a
hybrid of Damon Runyon’s stories of colourful street
characters, their strip bar working girlfriends and the
local Salvation Army group who would have them
change their wicked ways.
On the night I came, there were a few clunky scene
Andy Kelly’s production in October stuck closely to changes and a couple of fluffed lines that broke up the
the original style and source material and yet managed flow of the otherwise slick dialogue, but this is nit picking
to deliver a modern production of lighting, sound and in the grander scheme of things. The staging could have
orchestration that would be fitting in any professional been more imaginative to tell the truth, with a simple
theatre in Manchester or London. open set being garnished with some basic props and lit
signage, but I’m guessing this was to accommodate such
The production has a total run time of almost three a big cast on a small stage.
hours, but never did I once feel bored or clock watch.
This was largely down to the performance of the leading On that note, it is so refreshing to see so many strong
actors. Terry Banham as Nathan Detroit, Liam Dodd as male performers in an Am Dram cast. The sound they
Sky Masterson and Elliot O’ Brart as Nicely Nicely made during “Luck be a Lady” and “Oldest Established”
Johnson stood out in a cast of performers that would made the hairs on your arms stand up. But do not let this
have complemented any ensemble production in overshadow the female chorus which was brilliantly
amateur theatre. Banham’s comedy, Dodd’s chocolatey coordinated by society choreographer Julie Milligan.
singing voice and O’ Brart’s comedy characterisation all A beautiful line up of ‘Hotbox’ girls sang and hoofed
contributed to an ensemble cast that quite frankly had through the shows two digetic numbers ably led by
no weak links. Annabelle Taylor in the role of Adelaide – Nathan’s long
suffering fiancé.
Also worthy of note was Megan Wight as Sarah Brown
who has one of those rare soprano voices that soared With a slick band (led by musical director Matt Corrigan)
and chimed through her songs with disguised ease that and its colourful period costumes, Guys and Dolls left the
matched both her characterisation and delivery. It is very audience whistling the title song all the way home.
easy to get this character wrong in this show and forget
to point out when it is performed well. And well it was With Return to the Forbiddden Planet and The
done here. Producers on the cards for WAMDS in 2020, you should
book early to see this company next year if this
In fact, the depth of characters is what made this show production is anything to go by.
work – the Mission members, minor hoodlums, street
cops and working girls all contributed to an ensemble
production that culminated in the show stopping “Sit
Down You’re Rocking the Boat” in Act Two. I counted thirty
cast members clapping and singing through a rendition
that somehow manged to be traditional and new at the
same time (an additional vocal section, I think) and left
me frustrated that there was no encore.

A special mention needs to go to Mike Law as Arvide
Abernathy (Sarah’s grandfather and leader of the Save
a Soul Mission). His wise Irish characterisation and
measured delivery provided a perfect counter point to
the brash street hustlers, and I’m pretty sure there were
a few audience tears being wiped away at the close of his
solo number, “More I Cannot Wish You”. Photographs: Rochdale District Camera Club

35 REAL ROCHDALE - WINTER 2019