Don’t gamble on this show – buy your tickets now.
Guys & Dolls, the iconic Broadway musical about risk, romance, saints and sinners, has arrived just off Sydney’s shores. Produced by Opera Australia and playing on a pop-up floating stage in Sydney’s Botanic Gardens, it is the annual offering of this sort of production from Handa Opera on Sydney Harbour. With stunning design, masterful choreography, and pulsating performances, it is by far their best one yet.
The production goes all in on glitzy and glamorous design. Costumes by Jennifer Irwin are stunning. The men are dressed in a dizzying array of colourful suits, while the women don everything from sparkly lingerie to floral skirts. The lighting (Bruno Poet) pops after the intermission, flashing energetically to the beat of the music. It’s more like an installation than one element of a show.
The use of oversized set pieces, like large rotating taxi and a massive neon sign saying ‘Cuba’, add to the show’s larger-than-life nature. However, the real sell is the inclusion of fireworks. Going off unexpectedly, and no doubt already the subject of numerous Instagram stories, they indicate what the whole production is about: flair, flamboyance, and f**king good visuals.
The cast, a mix of seasoned vets and performers on debut, all rise to the occasion. Jason Arrow, who recently played Alexander Hamilton in Hamilton, dominates in the supporting role of Nicely-Nicely Johnson. His lively rendition of “Sit Down, You’re Rockin’ the Boat” is easily the show’s best moment. It is a visual and aural spectacle that is easily the best thing performed on Handa Opera’s stage. Angelina Thomson as Miss Adelaide is also a smash hit. Whether she’s engrossed in a couple’s argument with Nathan Detroit (Bobby Fox), her fiancee of 14 years, ruminating on love and illness in “Adelaide’s Lament”, or gracefully moving across the stage (and sometimes in and out of a large taxi), she nails Adelaide’s humour, the production’s songs, and her choreography. Thomas Campbell as police lieutenant Brannigan and Scarlet Lindsay as Martha/MC also deserves a mention for their comic relief skills.
Cody Simpson, the former child star making his Australian musical theatre debut, improves rapidly throughout the show. Playing the lead role of Sky Masterson, Simpson initially lacks the suave and charm that Masterson needs. Fortunately, he discovers both in his first duet with Sarah Brown (Annie Aitken). From then on he leads stylishly and confidently, with impressive acting and sound singing. After his performance of “Luck Be a Lady”, it’s clear: he meets the hype.
The rest of the cast follow suit. Despite some sound issues where their singing is hard to hear, they go from an underwhelming opening number to an energetic ensemble performance. This is thanks to their flawless execution of Kelley Abbey’s choreography, which is simply mesmerising, and their chemistry with one another. Their movement is perfectly syncopated and their singing perfectly in harmony, making every moment strong.
Shaun Rennie’s direction ties everything together well. Guys & Dolls plays out on a two-tier pop-up stage, where the musical runs on the first tier and an orchestra (led by Musical Director Guy Simpson) performs high atop on the second. No part of the show, whether technical, musical or story-based, comes at the expense of the other. The plot and its themes are easy to follow and every musical sequence is delightful. Though some craps-focused scenes are too long, this does not detract from the overall experience, and it is fascinating to see everything play out.
Ultimately, Guys & Dolls is a vibrant, exciting production. Its minor flaws do not outweigh its brilliant optics. Somehow, in a show about gambling, both the house and its patrons – us, the audience – win.
