Tag Archives: Arlene Phillips

GUYS & DOLLS

★★★★★

Bridge Theatre

GUYS & DOLLS at the Bridge Theatre

★★★★★

“a captivating, energetic show that you’d bet on to run and run.”

The Bridge Theatre’s production of Guys and Dolls opened a year ago to rave reviews and now a new cast continues the party. This show really does feel like a knees up: my cheeks were aching by the interval and even I was persuaded to join in with a celebratory wiggle during the finale. Even if you have never seen this 1950 musical before, the immersive experience draws you into a world of gamblers, showgirls and fervent missionaries, and you will leave humming the excellent songs.

Part of what draws the audience in is the Bridge Theatre set (Bunny Christie), which includes seating on four sides of an immersive area which you can roam around with a standing ticket. Before the start of the show, the central area is laid out like a street map, vendors sell real hot dogs and pretzels from stands to the audience, and the ensemble circulate puffing on stage cigarettes. Bright neon and coloured bulbs (lighting design Paule Constable) decorate hanging signs that transport you to a busy Broadway, New York with the attention to detail on the road markings and sewer covers apparent up close. The immersive audience is encouraged to sit at diner tables and interact with the ensemble as the bustle increases. Given the geography of the room, the orchestra is not in a pit: it is elevated to the gallery, and flanked with more of the garish bulbs which shows off the pink glittery music stands and snazzy audience jackets. This is a show that’s not afraid to show how it operates, but that only adds to the magic.

 

 

And what magic. Especially when standing, the action is happening literally centimetres away. The acting therefore must be – and is – flawless. Emotions have to be portrayed both small and large for the audiences closer and those further away. Dancing (Arlene Phillips with James Cousins) from the talented supporting actors is super sharp. I loved the rowdy carrot routine from the showgirls in the Hot Box club. The gamblers in the crap game routines are totally committed even on narrow stage blocks, and the hat-ography is impressive.

Guys and Dolls is known for being the epitome of the comic musical, and the jokes here are mined expertly by the able cast. There is great physicality throughout from all characters, especially the anchor of the piece, Owain Arthur as Nathan Detroit. Timmika Ramsay also has perfect comic timing as Miss Adelaide, the aspiring wife and showgirl, intent on reforming her fiance. Ramsay is wonderful in the role; her voice is powerful and rich, even when singing sitting down, and with a cold!

“This refreshed cast does their material justice, and then some”

As a foil to this couple, Celinde Schoenmaker is excellent as the uptight Sarah, leader of the Mission for Lost Souls. She has an incredibly easy high register, and is able to inject character into her songs as well as excellent vocals. Watching her lose all abandon in Havana is a sight to behold – very reminiscent of having one too many drinks at a wedding. George Ioannides completes the quad at the centre of the story, again excellent vocally. He embodies the smoothness of a professional gambler, but with enough heart that his love story makes sense.

The supporting cast were also excellent, especially Jonathan Andrew Hume as Nicely Nicely Johnson. He leads the rollicking number Sit Down, You’re Rocking the Boat which is the biggest song and rightly gets multiple reprises.

 

 

As in previous immersive shows at the Bridge, blocks rise and fall through different scenes and all these potential hazards are well shepherded by stage hands dressed as cops. They get a well-deserved ovation for calmly co-ordinating the standing audience through the piece, as well as managing props and creating runways to the stage blocks for actors. Even watching the stage hands’ work up close doesn’t break the focus: it’s not often that you get to feel like you’re standing in the wings.

Nicholas Hytner’s strong direction combined with the amazing set and choreography bring out the very best of Damon Runyon’s characters and Frank Loesser’s much-loved music and lyrics. This refreshed cast does their material justice, and then some. In fact, Guys and Dolls could only be improved by serving up every audience member a mid-show dulce de leche, but in every other way, this is a captivating, energetic show that you’d bet on to run and run.


GUYS & DOLLS at the Bridge Theatre

Reviewed on 11th March 2024

by Rosie Thomas

Photography by Manuel Harlan

 

 

 

 

More five-star reviews:

LUCY AND FRIENDS | ★★★★★ | Soho Theatre | February 2024
STANDING AT THE SKY’S EDGE | ★★★★★ | Gillian Lynne Theatre | February 2024
THE BIG LIFE | ★★★★★ | Theatre Royal Stratford East | February 2024
HADESTOWN | ★★★★★ | Lyric Theatre | February 2024
NELKEN | ★★★★★ | Sadler’s Wells Theatre | February 2024
WHEN YOU PASS OVER MY TOMB | ★★★★★ | Arcola Theatre | February 2024
HILLS OF CALIFORNIA | ★★★★★ | Harold Pinter Theatre | February 2024
SELF-RAISING | ★★★★★ | Soho Theatre | February 2024
JEFFREY BERNARD IS UNWELL | ★★★★★ | The Coach & Horses | February 2024
COWBOIS | ★★★★★ | Royal Court Theatre | January 2024

GUYS & DOLLS

GUYS & DOLLS

Click here to see our Recommended Shows page

 

House of Flamenka

House of Flamenka

★★★★

Peacock Theatre

HOUSE OF FLAMENKA at the Peacock Theatre

★★★★

 

House of Flamenka

“Francisco Hidalgo, the flamenco choreographer, does outstanding work with the company of dancers”

 

House of Flamenka brings together a wealth of talent in the form of music, singing and dancing, all under the direction of Arlene Phillips. Phillips co-created this show with singer and dancer Karen Ruimy. Together these celebrated artists have produced a show that is best described as a fusion of flamenco and contemporary dance styles accompanied by an upbeat and updated medley of songs. The music includes everything from classics such as Bésame Mucho and Dance Me To The End Of Love (sung by Ruimy) to a more contemporary pop and hip hop vibe for the dancers. Ruimy does the singing to great effect, and the dancers are energetic and versatile. The show is sexy, and alluring.

There is a story to House of Flamenka, but audiences could be forgiven for not noticing. It is the most minimal of narratives, designed to bring together a singer, some dancers, and a set and costumes that would seem improbable under any other circumstances. It is a Broadway fantasy taken to extremes that will remind audiences, frankly, of the darker side of Los Angeles, rather than New York. But for what it’s worth, the narrative involves “a goddess of music and dance whose passion is collecting beautiful objects.” The programme note warns us that hubris is about to visit, but we never really get to find out how or why, unless it’s the disappearance of most of the set in the second half. At any rate, the goddess (Ruimy) presides over a show by her beautiful objects, and often participates. The whole event takes place in her extravagantly designed house, and is, indeed, an appropriate setting for the kind of entertainment that House of Flamenka provides.

There are many strong elements in House of Flamenka, and the footwork in the flamenco influenced numbers is particularly notable. Francisco Hidalgo, the flamenco choreographer, does outstanding work with the company of dancers, many of whom have distinguished careers in the flamenco world. Other dancers are from the world of contemporary dance and dance of the African diaspora — with equally distinguished experience. One of the great challenges of a show like this, then, is how to bring it all together. James Cousins does a brilliant job with the choreography of the numbers that feature contemporary dance. But it has to be said that flamenco, danced only by men (with the exception of Ruimy) feels incomplete, no matter how skillful the artists. Jasmine Swan who designed both set and costumes, manages a functional set despite its extravagance, but the costumes bring more attention to themselves, rather than to the dancers. The exception here are Ruimy’s costumes, which she changes for every number. They are both brilliantly designed and very flattering. But the point of fusion is to bring a variety of diverse styles and traditions together in a satisfying way. Sadly, House of Flamenka doesn’t really manage this in a way that feels organically whole.

If you go to House of Flamenka in search of art house flamenco rather than Broadway, you might be disappointed. Given the extraordinary abilities of the assembled company, you might also feel that House of Flamenka does not quite manage the diversity of its material to best effect. It is missing something that would turn this show from simply a good evening in the theatre, to something truly memorable.

 

Reviewed on 28th September 2022

by Dominica Plummer

Photography by Pamela Raith

 

Peacock Theatre

 

 

Previously reviewed at this venue:

Machine de Cirque | ★★★★★ | June 2022

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