Guys and Dolls, Shakespeare Theatre Company, Sidney Harman Hall, Washington, DC

 

Rob Collletti (center) and the cast of Guys and Dolls. Photo credit: Teresa Castracane Photography.

Since October 2022, I have seen three productions of Guys and Dolls: the first was the Kennedy Center’s Broadway Center Stage production (if you are interested, you may find my blog entry at https://theatregoerthoughts.blogspot.com/2022/10/guys-and-dolls-kennedy-center.html), the second was Nicholas Hytner’s “immersive” production at London’s Bridge Theatre in September 2023 (which I did not write about), and the third is the Shakespeare Theatre Company’s current production at Sidney Harman Hall. Each of these productions, of course, is built on the dynamic and ingenious work of composer Frank Loesser and librettist Abe Burrows. (Jo Swerling shares the writing credit contractually, for having created an initial draft that was not accepted; Burrows may or may not have borrowed from that draft.)

The year was 1950, the so-called “Golden Age” of American musical theatre, at the beginning of a decade which would produce such gems as Damn Yankees (recently produced at Arena Stage) and The Pajama Game (produced several years ago at Arena), both of which featured music and lyrics by Richard Adler and Jerry Ross; Rodgers and Hammerstein’s The King and I; My Fair Lady, written by Alan Jay Lerner and Frederick Loewe; Meredith Willson’s The Music Man; and West Side Story (by Arthur Laurents, Leonard Bernstein, and Stephen Sondheim) . Quite a roster!

 

Based on stories by Damon Runyon, Guys and Dolls presents us with two very different sets of characters operating in the margins of society. On the one hand are the gamblers, led by Nathan Detroit, whose fiancée of 14 years, Miss Adelaide, is an “entertainer” at a night club called the Hot Box. On the other hand is a group of missionaries led by Sarah Brown whose “Save a Soul” Mission is determined to reform sinners, though with little success. After several contentious meetings between the gamblers and the missionaries and while trying to find a place for their floating crap game, Nathan tries to raise money for the space by betting that Skye Masterson, one of the well-heeled gamblers, cannot persuade the pious, strait-laced woman running the Mission to join him on a date. Conflict abounds and hilarity ensues, leading, of course, to romances, marriages, and an ultimately happy ending.

 

Entering Sidney Harman Hall, we see racks of clothing, mannequins, and a glass counter stocked with odds and ends items: a perfectly recognizable thrift shop operated by the Save a Soul Mission, whose name is seen in reverse from inside the store. As the play begins, members of the ensemble silently enter the space and the orchestra plays a tune titled “Runyonland,” choose and pay for items, and depart. With a few exceptions, subsequent scenes take place in a “playground” that rarely lets us forget the world in which these characters live. The exceptions are a trip to Havana for Sarah and Skye and the burlesque nightclub where Miss Adelaide and the Hot Box Girls perform. The setting also reinforces the musical’s theme of redemption, that it is possible for all of us, when we allow others to meet our authentic selves.

 

Director Francesca Zambello says in her program note, “Guys and Dolls is a perfect musical,” which may appear far away from her primary job as director of the Washington National Opera. She does not, however, appear to be “out of her element,” having masterfully and lovingly directed this American musical comedy classic. With an ebullient and talented cast of 27, most of whom are making their STC debuts, and an outstanding group of creative collaborators, Zambello’s work may well persuade audiences that it is, indeed, a perfect musical.

Hayley Podschun and Rob Colletti in Guys and Dolls. Photo credit: Teresa Castracane.

 

While Walt Spangler’s scenic designs are all based on the setting we see upon entering the theatre, the other locations are specifically and appropriately delineated: a multi-colored mylar curtain transports us to various sites in Havana, the “stage” for the Hot Box club magically rises from the floor, and we are transported to the literal “underbelly” of the city (the sewer system) in which we can almost smell the surroundings. Costume designer Constance Hoffman contributes costumes ranging from color-coded gamblers and uniformed missionaries to the Hot Box girls’ sassy-but-silly outfits for “A Bushel and a Peck” to the sparkling, classy outfits (fur, pearls, gown, shoes, hat) in “Take Back Your Mink,” the exoticism of Cuban dancers, and the strait-laced, buttoned-up uniforms of the Save a Soul missionaries. Hair and wig designer Kevin S. Foster II helps create characters and period. Amith A. Chandrashaker’s lighting design is by turns both boldly blatant and slyly subtle, directing our attention and establishing place and mood. Andrew Harper’s sound design balances musicians and vocalists, as well as enhancing/illustrating events (such as the flights to and from Havana). It may be worth noting that all of the designers except Spangler are making their STC debuts.

Jacob Dickey and Julie Benko in Guys and Dolls. Photo credit: Teresa Castracane Photography.

 

The work between Zambello, choreographer Joshua Bergasse, and fight choreographer Robb Hunter is seamless and exemplifies a unified vision. The choreography – and its execution – in “Luck Be a Lady” and the Havana sequence are especially noteworthy. In the former, a dozen male dancers execute stunning moves that go far beyond traditional “dance,” from gymnastics and acrobatics to ballet. It is such an ensemble effort and moves at such a rapid pace that I could not define who did what. The Havana sequence made good use of dance styles suggested by their Cuban locale.

"Luck Be a Lady," the cast of Guys and Dolls. Photo credit: Teresa Castracane Photography.
 

I liked seeing the orchestra upstage during the proceedings, as if they were poised just outside the Save a Soul Mission. Musical director James Lowe (also credited for his work as conductor and “additional orchestrations”) elicits impressive performances from the cast and the 14 musicians under his direction.

 

And the performances! Julie Benko made an indelible mark on the Broadway scene when she understudied the original star of the recent Broadway revival of Funny Girl, then took over the role when that actress left the production. As Sarah Brown, her soprano soars, a sound that almost seems to indicate that, as the leader of the Save a Soul mission, she has been granted almost-angelic status. Benko has an amazing career ahead of her. Hayley Podschun has several impressive Broadway and regional credits, including stints on Broadway and on tour as Glinda in Wicked, as well as additional roles at Arena Stage. She commands the stage as Miss Adelaide, milking every comedic moment in Kewpie-doll fashion. She handles the hokum nature of the Hot Box Girls’ numbers and looks absolutely stunning in costume in “Take Back Your Mink.” Benko and Podschun have a great time comparing notes in “Marry the Man Today.”

 

The leading “guys” fare almost as well as their over-achieving “dolls.” Jacob Dickey as Skye Masterson is not an especially physically imposing presence, but when he begins to sing, he takes control of the stage. His voice blends with Benko’s beautifully, especially in “I’ll Know” and he delivers a performance in “Luck Be a Lady” that reflects both confidence and doubt. The role of Nathan has fewer musical opportunities (because of the limited vocal abilities of the actor who originated the role, Sam Levene), but makes his impact in his comedic scenes, especially with Miss Adelaide. While Ron Colletti worked hard to mine all of the comedy, his performance seemed to me to lack nuance. I would have appreciated more modulation in tone.

 

Kyle Taylor Parker as Nicely-Nicely Johnson leads the rousing “Sit Down, You’re Rocking the Boat,” one of the show’s highlights. Parker’s contribution adds to every scene in which he appears. Parker’s frequent appearances are always on-point, even when the dialogue is trite (example: “how’s it going?” elicits the response “nicely, nicely”).

Kyle Taylor Parker (center) and the cast of Guys and Dolls. Photo credit: Teresa Castracane Photography.

 

All of the additional cast members deserve kudos, but I must single out Ahmad Kamal as an overbearing and frightening Big Jule, Garrett Marks as a conniving Harry the Horse, Calvin McCullough as a supportive Benny Southstreet, Lawrence Redmond as caring and sensible Arvide Abernathy, Todd Scofield as frustrated Lt. Branigan, and DC theatre stalwart Holly Twyford as General Cartwright.

 

I’m willing to bet (pun intended) that this Guys and Dolls will bring a smile to all of the guys and dolls who see it. It is certain to provide much mirth to the holiday season for every audience. Don’t miss it. Performances have now been extended through January 8.