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SOCIETY; WEMBLEY
OPERATIC SOCIETY
PRODUCTION; " GUYS & DOLLS"
DATE; 25/11/00
VENUE; WINSTON CHURCHILL HALL, RUISLIP
REPORT BY; VIC GOLDING
It was with great pleasure that I received your kind invitation to review "Guys & Dolls". It is my favourite show from that of American Musicals, the 40's and 50's of the last century. It's clever lyrics, witty dialogue and wonderful tunes come up afresh, even though one has seen it many times.
Wembley O.S. certainly did the old warhorse proud. Tom Rainbow's direction gave the audience plenty to cheer. His choreography and movement for the chorus showed the expertise of a former dancer.
Janette Edwards' excellent musical direction achieved the best out of both the peerless orchestra and the Company. The harmonious singing of the latter was one of the best I've ever heard, and the former, discreetly hidden so that one could concentrate on the stage action, proved an admirable accompaniment to the singing and dancing.
The stage was used very well, with the orchestra pit ingeniously put to use to simulate a Subway entrance, and an entry to the 'Sewers'. The sudden appparance of the sunflowers was very amusing!
Stage management under Stuart La Plain was efficient, though a recalcitrent curtain, and a hand appearing round it to open a door cause the audience some amusement! If I have a slight criticism, it is with the scenery, with the rather drab 'Broadway' backdrop not being properly hung, and the black curtains (instead of flats) created a deadening effect visually, although the excellent costumes more than compensated.
Props (Sarah, Juliet and Amanda) and Make-up (Ginny and Sue) were good, and nicely in period, while John Jetten's Lighting was excellent, being particularly effective in the Havana scene. Denis Cater and Ron Laver, the Sound Engineers, provided spot-on acoustics.
The programme, compiled by Andrew Murray, was very eye-catching and well set-out, with a useful glossary of American terms, though the list of scenes and musical numbers, and cast profiles, could have been clearer against the grey brick background by having larger print and being more of a contrast.
"Guys & Dolls" is usually of less interest to the 'Dolls', unless they are Hot-Box girls, but in Wembley's version Tom had ingeniously used them in the "Fugue for Tinhorns" and the "Guys & Dolls" numbers, opportunities which they seized eagerly, besides being used in the Havana dance sequences. The whole Chorus had a warmth and enthusiasm in their acting, singing and dancing, which communicated itself admirably to the audience. Congratulations!
Ray May, as Nicely-Nicely, was an exemplary actor and singer, and was ably supported by Nigel Simpson as Rusty. I felt that Andrew Murray, while giving a good performance, seemed a little uneasy and out of place in his role as Benny.
Chris Abbot (Arvide) sang his one solo number effectively, and was a warm 'Grandpa' to Sarah.
Peter Fidler repeated his role as the cynical Lieut. Brannigan with his usual competence, while Rex Whitehurst (Harry the Horse), Jonathan Hassell (Joey Biltmore, usually just an off-stage voice!), and Laurence Hutchinson (Big Jule) gave good support in minor roles.
Ted Blake was a splendid Nathan Detroit, with exceptional comic timing.
Dennis Hopwood gave an accomplished performance as Sky, less brash than the role in usually played, but most skilful nonetheless, and he had a first-rate singing voice.
A lovely performance came from Mary Moscrop as Sarah, her attractive smile and expressive eyes mirroring the conflicts in her character. Her voice, splendid in "If I were a bell" and "Marry the man today" sounded a little unsure in her intonation in "I'll know".
In a musical studded with 'show-stoppers', Sheila Redston, as Adelaide in "Adelaide's Lament", was outstanding. This actress was superlative in her interpretation of this gift of a character.
Glenys Blake was authoritative yet with a warmth of feeling, as General Cartwright. The Mission Band (Vera West, Alan Bunner and Elaine Gee) dutifully fulfilled their roles, and the Hot-Box Girls sang and danced exceptionally well as a team.
Congratulations to all concerned for a superb show, with a special thank you to Jill Schrodel for her warm welcome and hospitality to us.
This is probably my last report on a Wembley Show, as I am retiring as your NODA Regional Rep. after 12 years. I am delighted to be able to write such a favourable report on a fabulous show. Many thanks for all the enjoyment you have given Jenny and me over the years, and may you long continue to flourish.