Guys and Dolls (Kilworth House Theatre)

Even before a note is played or a song is sung at the splendid outdoor venue of Kilworth House Theatre one is visually impressed by Philip Witcomb’s outstanding set that immediately transfers you to 1930s New York and tempts you in to those times to experience the stories of Damon Runyon first hand.

Daniel Robinson’s comically nervous, bordering on hyperactive Nathan Detroit is diametrically opposed to a suave, sophisticated Sky Masterson portrayed by Simon Thomas and this works incredibly well and highlights the opposing facets of the gambler. Conversely both Harriet Jones as Sarah Brown and Holly Dale Spencer as Miss Adelaide despite different career choices have distinct similarities, both fighting desperately to win their man. All four of these characters are played with supreme confidence and stellar vocals, driving the story along to keep the audience engaged and entertained.

Scenes in the ‘Save a Soul’ mission are authentic with just the right amount of tension with the constant pressure of a likely closure. Graham Hoadly’s calming and supportive Arvide Abernathy keeps everything on the right path to ultimate success even in the face of Nicola Keen’s demanding General Cartwright and there’s some nice little moments from Heather Scott-Martin as Agatha.

On the opposite side of the street are the gamblers, a team of talented singers/dancers delivering some perfect scenes, particularly the sewer scene and the classic ‘Luck Be a Lady’ number but, probably the highlight is the ‘Sit Down You’re Rockin’ the Boat’ number, nailed superbly by Daniel Stockton as Nicely Nicely Johnson and in fact the whole cast delivering a supreme ensemble piece.

Adding some considerable glamour are the Hot Box Girls, both numbers ‘A Bushel and a Peck’ (strangely replaced by the more feline ‘Pet Me Poppa’ in the 1955 Movie) and ‘Take Back Your Mink’ providing something a bit different both musically and visually from the continuing storyline.

There is no doubt that this is very much a production that only works because of the strength of depth in the cast but, there are some highly entertaining supporting performances including Bobby Windebank’s intense Harry the Horse, Will Kenning’s imposing Big Jule and Martin Neely’s frustrated Lieutenant Brannigan, the whole spectacle directed and choreographed skilfully by Nick Winston with Frank Loesser’s immediately recognisable score still playing in your head as you leave.

Whether you’ve ‘got the horse right here’ or not, you need to grab a ticket for this one before the run ends on Sunday 8th July 2018 and you’ll be singing your own lament rather than Adelaide’s.


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