This production of Guys and Dolls is inspiring. The romantic fantasy sweeps us easily into its world, delighting us with the dolls and guys of a different time. There is no holding back. It has all the magic of New York musical theatre at its finest in Sonoma.
The live music builds a bright show of beautiful familiar songs that tell the stories of gamboling and the larger risks of love in the 1930’s on the streets of New York. The jokes are synched to the music and cast antics, with laughter and applause accenting the numbers. It is a pleasure to experience a snappy show that moves smoothly between scenes designed for this small theatre.
This story plays with the stereotypical roles of the 1930s. The dolls are all beautiful, of course, and the guys are basically hopeless, but they don’t know it at the time. The play made it to Broadway in 1950 and won 5 Tony Awards, including Best Musical. It continues to be re-imagined with the latest revival running in London at the Bridge Theatre until February, 2024.
This is not the bump and grind of the harsh world of GYPSY, nor the hard world stories that infect Chorus Line. This story takes the short stories of Damon Runyon and sets them to music for all the world to enjoy. The result is a timeless saga of guys eventually doing anything for some doll.
Director Larry Williams has taken the challenge to heart and solved how to put 21 actors in costume on the head of a pin without harming their makeup or hair. Amazing work to end Sonoma’s 2022-23 season with class. Williams is known for his improv work, and this talent helps to keep the constant movement fluid and meaningful, while moving the story along quite nicely, nicely. Congratulations.
Miss Adelaide (played by Jenny Vielleux) is the perfect doll. Dancing at Ross’s HOT BOX puts her in the middle of her girls and on top of the world. Yes, she’s been engaged to Nathan (played by Skyler King) far too long, but she can still sing how much she loves him with “A Bushel and a Peck.” Her voice is perfect for the role even while sneezing with “Adelaide’s Lament.” However, Vielleux cannot seem to let Nathan know just how thin his ice is getting. When Adelaide sings “Take Back Your Mink” at Ross’s HOT BOX, she is starting to mean it. Vielleux’s talent comes to the fore as she chews him up with “Sue Me.” King can only back down and agree that something has to be done.
Nathan Detroit has other problems with his profession as a promoter of his ongoing floating crap game. The law is hot but his customers are starting to demand a little action. King commiserates with his clients with “The Oldest Established” crap game and insists that the tradition will go on as soon as he finds the appropriate venue. Of course this puts him in direct conflict with Miss Adelaide. Sparks will fly and it takes a certain salvation to preserve the relationship.
And then there is Sister Sarah (played by Maeve Smith). This mission doll has a certain class that smiles at contradiction. Yes, the marching from street to street in search of souls does exhaust a body but gives Sarah no satisfaction. Smith is dedicated to not finding what she needs in her life, but her resistance melts when love comes along, through the front door, no less. Smith’s rendition of “I’ll Know” warmly moves our hearts to her plight. It takes a bell to wake Sister Sarah up with “If I Were a Bell.” I’m glad brother Arvide (played by Dan Monez) understands life outside the mission routine to help her to change.
Sky Masterson (played by Andrew Smith) is the wild card here. Perhaps his markers can save him, but they really only get him into the trouble he has been able to ignore in the past. Smith plays Sky as mild-mannered and calm and resolved to bring out the best in his luck. Smith’s “Luck be a Lady” persuades us that he can trust luck as a doll he could love. However, there is a fair-play loner in Sky’s personality that does not let him take advantage of any success. Smith and Smith sing “I’ve Never Been in Love Before” to finally come together.
Lest anyone forget, costumes, music, choreography and lighting are a musical’s best friends.
Liz Andrews stands out as the choreographer through crisp and effective dance numbers. The dances in Ross’s HOT BOX are simply the hottest moves around, while the large numbers in the mission and the gambling show off everyone’s skills as a team.
Barbara McFadden and Sylvia Gregory are the costumers for this extravaganza. With a minimum of 80 costumes for 21 people through many changes for the dancers, McFadden and Gregory wash the stage with color and style of the times. There are two assistant stage managers and one dresser working backstage non-stop to keep up with the costume changes.
Frank Sarubbi’s light designs bring the audience focus and emotion to the heart of each scene. There is a true chicken and egg relationship here between lighting and actors in this show: there’s no leading or lagging, rather they dance together to give the ultimate chicken its due on the stage. The movement never stops. The lights are always there. The show sparkles.
Sherrill Peterson is the music director with 6 other musicians in the pit, back behind the set, in a space that is just 6 feet deep. The music is spot on with all singing and dancing and transitions. Where would the show be without good music? I’ll tell you where it would not be. Sonoma. These musicians are pro; thank you Sherrill and guys..
We, who know the play, love the voyage that Nicely Nicely describes for us. Johathan Blue (as Nicely Nicely), does not let us down. Blue grabs us by the throat as he sings “Sit Down, You’re Rocking the Boat” and pulls us through the saga as only a sinner can, with a robust passion that lets us go only when the saga ends suddenly, leaving us floating on a sea of haunting imagery.
The stage manager, Emily Cornelius, runs a very tight ship with this show. There is absolutely no room for error, and she cues everyone in the crew who is working backstage. Cornelius makes the circus master position look easy, with the heartfelt intent on helping the cast and crew do their best work possible. She is as dream for this show. Laurynn Malilay, as the sound manager, keeps the show on the (sound) level with control over 21 mikes. The whole booth is magic.
So, have fun and come to the show on our fantastical New York street and at Ross’s HOT BOX. You will wind up humming out the door with friends around you, admiring the passion and joy and life embodied in this little theatre in Sonoma.
“Guys and Doll” continues at Sonoma Arts Live at 276 East Napa Street, Sonoma, through July 30, 2023.
For further information and reservations: http://www.sonomaartslive.org/
Rating: ****
“Guys and Dolls,” by Jo Swerling and Abe Burrows, Music by Frank Loesser, produced by Sonoma Arts Live. Director: Larry Williams, Music Director: Sherrill Peterson, Choreographer: Liz Andrews, Set Designer: Gary Gonser, Light Designer: Frank Sarubbi, Sound Design: Laurynn Malilay, Costumers: Barbara McFadden and Sylvia Gregory, Stage Manager: Emily Cornelius.
Cast: Jenny Vielleux as Miss Adelaide, Skyler King as Nathan Detroit, Maeve Smith as Sarah Brown, Andrew Smith as Sky Masterson, Johathen Blue as Nicely Nicely, Owen Hardisty as Benny Southstreet, Dan Monez as Arvide Abernathy, Jaime Love as General Cartwright, Sue Martin as Agatha/Mission Band, Reina Gibbs as Martha/Mission Band, John Gibbons as Calvin/Mission Band, Rick Love as Big Jule, Scott Slagle as Harry the Horse, Ron Lam as Lt. Brannigan.
Ensemble: Harriette Pearl Fugitt as Vernon/Hot Box Girl/Crap Shooter, Chelsea Smith as Allison/Hot Box Girl/Crap Shooter, Emily Owens Evans as Ferguson/Hot Box Girl/Crap Shooter, Emma Sutherland as Mimi/Hot Box Girl/Crap Shooter, Kaela Mariano as Joey Biltmore/Hot Box Girl/Crap Shooter, Hannah Passanisi as Hot Box Girl/Crap Shooter, Tyler Ono as Waiter/MC/Crap Shooter.
Band: Sherrill Peterson on Music Director/Keyboard, Steve Cohen on Drums, Elaine Herrick on Bass, Jeff Bernard and Joe Pandolfo on Trombone, Lisa Doyle on Violin, Alex Peters on Reeds, Dave Lindgren on Trumpet.
