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Follies->
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Guys & Dolls
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26th November - 1st December 2012
Directors: Martine Young & Beth Flitton
Musical Director: Richard Stockton Choreographer: Geninne Menzies CastSky Masterson - Steve Nottage
Sarah Brown - Charlotte Curtis Nathan Detroit - Mike Bartlett Adelaide - Melanie Murza Nicely Nicely Johnson - Brian Higgs Benny Southstreet - Nick Comlay Arvide - Arthur Venables General Cartwright - Sue Warren Lt Branigan - Bob Noble Big Julie - Tony Allen Harry the Horse - Richard Lee Rusty Charlie - David Annett |
Dancers
Francesca Cave, Louise Elliker, Vicky Huggins, Jenny Jones, Geninne Menzies, Sam Moylan-Heydt, Nat Rowell & Emma Tait
Chorus
Robin Evans, Sarah Gallagher, Jade Horan, Pamela Lee, Barbara Milner, Angela Springett, Mark Turvill, Seb Underhay & Rob Underhay
Noda Review
Guys and Dolls is one of my favourite musicals and being one that I have directed I am familiar with all aspects of the show. The brilliant Loesser score covers just about every style of music ranging from romantic ballads to lively gospel, whilst fitting in cleverly constructed streetwise numbers such as ‘Fugue for Tinhorns’.
As the opening song this is not exactly a rousing number involving the chorus and, unlike most of the songs in this musical, is unknown to the general public. The three men sang it well but without any other business happening on stage there was little to capture the audience’s attention. The addition of a little background interest, maybe a couple of people at the news-stand or one or two on the street would have been visually more interesting and would not have detracted from the trio’s performance. A little choreography for them would have helped too.
During the long overture, played splendidly by Richard Stockton’s orchestra, although all the components were there, street girls, sightseers etc; the scene didn’t appear quite frenetic enough for a bustling New York thoroughfare.
Many amateur performers find accents difficult to maintain and this was the case on the evening I attended. There were only two consistent American accents amongst the men, Brian Higgs as Nicely-Nicely and Nick Comlay as Benny Southstreet. The setting of the musical is New York so a Bronx or Brooklyn accent, given the type of men they were, would have been the right one to imitate -- especially for Nathan.
Mike Bartlett’s acting was good and his singing voice pleasant but as Nathan his accent lapsed into English a considerable amount of the time, and bearing in mind the song ‘Sue Me’, a Jewish intonation would have also added to the character he was depicting.
His long-suffering fiancée Adelaide was played brilliantly by Melanie Murza. She was perfectly cast for the part and I loved her ‘Adelaide’s Lament’
Steve had already proved in Jekyll and Hyde that he is capable of playing a more serious role than hitherto, and although he had obviously worked hard to portray the smooth, love ‘em and leave ‘em big time gambler Skye Masterson, he came across as more of a nice guy. His performance was certainly a solid one and ‘I’ve Never Been in Love Before’ was tenderly sung, but perhaps the role of Nicely-Nicely would have suited him better.
As the leading light of the Save a Soul Mission, Charlotte Curtis was first rate. She sang well and ‘I’ll Know’ is not the easiest as a first solo. Her performance as a drunk was one of the best I’ve seen. It looked completely natural and the choreography in ‘If I Were a Bell’ was also very natural.
I felt that Brian Higgs had more to offer than the rather underplayed portrayal of Nicely, but what he did he did well, as did Nick Comlay as his fellow gambler Benny.
Arthur Venables and Sue Warren were credible in their respective roles as Arvide Abernathy and General Cartwright, but again the accents were patchy. Arthur’s rendition of ‘More I Cannot Bring You’ was simply beautiful.
Richard made a suave Harry the Horse and as Big Jule Tony Allen did his best with part given that he tried to emulate an Italian accent, which he had difficulty establishing each time he spoke.
The other smaller male roles gave depth to the group of men.
Your production of ‘Guys and Dolls’ was the best-choreographed show I’ve seen in my 10 years as a NODA representative and would have graced a West End stage. It was fabulous with every number a joy to watch. The well rehearsed dancers moved as one and Geninne Menzies is to be congratulated on her hard work and flair.
‘Luck be a Lady’ was brilliant and the lighting really added to the atmosphere of a dingy sewer.
‘Take Back Your Mink’ and ‘Bushel and a Peck’ were super, the dance in Havana too, and the chaotic fight scene was very well choreographed.
The backcloth of New York at the start was a little wishy-washy but the Havana one was better and the sewer one was very effective. The meeting room set was good, and the Hot Box Nightclub set was created simply and competently by the use of the steps.
Costumes were suitable for the period, the uniforms looked authentic, as did the dark suits worn by the guys. Steve’s uniform at the end was too slim fitting and looked rather flimsy compared to the ladies ones, but ‘Bushel and Peck’ and ‘Take Back Your Mink’ were both splendidly costumed.
Hair and make-up were fine but any tattoos should have been covered up.
Props and furniture were acceptable. The addition of a big base drum would have been impressive for the mission band but the tambourines worked well.
There was an extremely noisy scene change when the back stage crew were moving the Mission set but otherwise they were efficient.
Sound was occasionally inconsistent, something I believe I’ve commented on for previous productions.
I understand that the directors Martine and Beth had to share direction, rather than directing and co-directing as originally planned, due to the very sad circumstances in Martine’s life. It is tricky to share stage direction as no one persons’ style is carried through the show, but all things considered they made the best of a very difficult situation and the audience appeared to be thoroughly enjoying the production, which is what matters.
Your programme is as always well set out and interesting to read and the front cover is attractive.
Thank you for inviting me to see ‘Guys and Dolls’ and for your hospitality on the evening. I shall look forward to seeing ‘Follies’ next year especially as it is seldom tackled and is a musical I haven’t seen for a number of years.
I’d like to take this opportunity to wish all involved with the society a very happy Christmas and a healthy 2013.
E. Gloria Smith
N.O.D.A. South East Regional Representative – District 12
As the opening song this is not exactly a rousing number involving the chorus and, unlike most of the songs in this musical, is unknown to the general public. The three men sang it well but without any other business happening on stage there was little to capture the audience’s attention. The addition of a little background interest, maybe a couple of people at the news-stand or one or two on the street would have been visually more interesting and would not have detracted from the trio’s performance. A little choreography for them would have helped too.
During the long overture, played splendidly by Richard Stockton’s orchestra, although all the components were there, street girls, sightseers etc; the scene didn’t appear quite frenetic enough for a bustling New York thoroughfare.
Many amateur performers find accents difficult to maintain and this was the case on the evening I attended. There were only two consistent American accents amongst the men, Brian Higgs as Nicely-Nicely and Nick Comlay as Benny Southstreet. The setting of the musical is New York so a Bronx or Brooklyn accent, given the type of men they were, would have been the right one to imitate -- especially for Nathan.
Mike Bartlett’s acting was good and his singing voice pleasant but as Nathan his accent lapsed into English a considerable amount of the time, and bearing in mind the song ‘Sue Me’, a Jewish intonation would have also added to the character he was depicting.
His long-suffering fiancée Adelaide was played brilliantly by Melanie Murza. She was perfectly cast for the part and I loved her ‘Adelaide’s Lament’
Steve had already proved in Jekyll and Hyde that he is capable of playing a more serious role than hitherto, and although he had obviously worked hard to portray the smooth, love ‘em and leave ‘em big time gambler Skye Masterson, he came across as more of a nice guy. His performance was certainly a solid one and ‘I’ve Never Been in Love Before’ was tenderly sung, but perhaps the role of Nicely-Nicely would have suited him better.
As the leading light of the Save a Soul Mission, Charlotte Curtis was first rate. She sang well and ‘I’ll Know’ is not the easiest as a first solo. Her performance as a drunk was one of the best I’ve seen. It looked completely natural and the choreography in ‘If I Were a Bell’ was also very natural.
I felt that Brian Higgs had more to offer than the rather underplayed portrayal of Nicely, but what he did he did well, as did Nick Comlay as his fellow gambler Benny.
Arthur Venables and Sue Warren were credible in their respective roles as Arvide Abernathy and General Cartwright, but again the accents were patchy. Arthur’s rendition of ‘More I Cannot Bring You’ was simply beautiful.
Richard made a suave Harry the Horse and as Big Jule Tony Allen did his best with part given that he tried to emulate an Italian accent, which he had difficulty establishing each time he spoke.
The other smaller male roles gave depth to the group of men.
Your production of ‘Guys and Dolls’ was the best-choreographed show I’ve seen in my 10 years as a NODA representative and would have graced a West End stage. It was fabulous with every number a joy to watch. The well rehearsed dancers moved as one and Geninne Menzies is to be congratulated on her hard work and flair.
‘Luck be a Lady’ was brilliant and the lighting really added to the atmosphere of a dingy sewer.
‘Take Back Your Mink’ and ‘Bushel and a Peck’ were super, the dance in Havana too, and the chaotic fight scene was very well choreographed.
The backcloth of New York at the start was a little wishy-washy but the Havana one was better and the sewer one was very effective. The meeting room set was good, and the Hot Box Nightclub set was created simply and competently by the use of the steps.
Costumes were suitable for the period, the uniforms looked authentic, as did the dark suits worn by the guys. Steve’s uniform at the end was too slim fitting and looked rather flimsy compared to the ladies ones, but ‘Bushel and Peck’ and ‘Take Back Your Mink’ were both splendidly costumed.
Hair and make-up were fine but any tattoos should have been covered up.
Props and furniture were acceptable. The addition of a big base drum would have been impressive for the mission band but the tambourines worked well.
There was an extremely noisy scene change when the back stage crew were moving the Mission set but otherwise they were efficient.
Sound was occasionally inconsistent, something I believe I’ve commented on for previous productions.
I understand that the directors Martine and Beth had to share direction, rather than directing and co-directing as originally planned, due to the very sad circumstances in Martine’s life. It is tricky to share stage direction as no one persons’ style is carried through the show, but all things considered they made the best of a very difficult situation and the audience appeared to be thoroughly enjoying the production, which is what matters.
Your programme is as always well set out and interesting to read and the front cover is attractive.
Thank you for inviting me to see ‘Guys and Dolls’ and for your hospitality on the evening. I shall look forward to seeing ‘Follies’ next year especially as it is seldom tackled and is a musical I haven’t seen for a number of years.
I’d like to take this opportunity to wish all involved with the society a very happy Christmas and a healthy 2013.
E. Gloria Smith
N.O.D.A. South East Regional Representative – District 12