GUYS AND DOLLS
Dear Readers: I promised the producer that this review
would not mess with the music, the singing, the choreography,
or the girls, since I know nothing about any of the above;
Neil Veitch will have to do all that. I decided, instead,
to write about ensemble, because this is what struck me
most forcibly about this spectacularly successful production:
| ensemble n. the degree of precision
and unity exhibited by a group performing together;
the general effect of something made up of individual
parts. |
The strikingly coherent structure, and meaningful visual impact,
of the Wynberg Schools’ production of Guys and Dolls,
I realised almost immediately, resulted from the combination
of two complementary circles – the Inner Circle (Etienne
Davis, James Dickie-Clark, Edward O’Reilly, Jan de Waal
and Andrew Mandy) and the Outer Circle (everybody else –
guys, dolls, Salvation Army, policemen, orchestra etc.). Wheels
within wheels. In a wonderful way these elements were made
to combine and reflect one another so as to fill the hall
with the sounds, the action and the atmosphere of a time and
society gone by – not least because each individual
seemed to have his or her own routine to carry out convincingly,
spontaneously and harmoniously. Individually and together,
the actors formed a lively, colourful, graphic composition,
graceful, balanced and satisfying. Ensemble.
Please allow me to spend the next few paragraphs raving
about the performances of Andrew, James, Edward, Jan and
Etienne. Oh, all right then, just the next eight words.
Boys, you were great: stunningly authentic and natural!
Pause for thought. There is, however, one problem that
arises from my theory of the inner and outer circles –
it takes no account of the phenomenon of Rodney Hanssen
(Sky Masterson). Sky is the alien figure who disturbs the
‘peaceful’ Broadway landscape with his romantic
intentions - he doesn’t really belong there. This
was Rodney’s first appearance on the stage, and as
the evening progressed it became a commanding one –
an excellent début. Welcome, Rodney, to show business!
Given that Guys and Dolls is certainly no modern musical
in the Lloyd-Webber style, what gave this production its
appeal? For me, the following elements were vital:
- The authentic black-and-white magic lantern slides that
opened each act to the accompaniment of a magnificent
overture by the orchestra.
- The spots and neon lights that brought the darkness
of Broadway to life for us.
- A few of the faces in the crowd – policemen in
long blue coats – genuine Salvation Army uniforms
– glamorous ladies in glamorous costumes - little
cameo portraits here and there – Dominic Murray,
Beau Steyn, Keagan Robinson among others.
- Hats, hands, feet – the sheer importance of gesture
even more than facial expression (although who would have
thought that a little moustache would make James and Etienne
look so seedy?). For the production to have an element
of James Cagney and Edward G Robinson, Leo Gorcey or the
Keystone Kops, hats would have to be worn just so, hands
would have to waved just so, feet would have to waggle
just so (slightly speeded up, maybe) – and indeed
they did! Every movement of the show had that trace of
comic energy, above all in the character of Nicely-Nicely
Johnson (Edward O’Reilly). Edward’s teetering,
tottering, tumbling routine while testifying in the Salvation
Army chapel was a show-stopper. Brilliant!
And so, it’s warm congratulations to everybody involved
in the preparation and production of Guys and Dolls –
one for all and all for one. May the spirit of ‘ensemble’
remain with you. You’ve earned it!
Clyde Broster
