Tag Archives: Bunny Christie

GUYS & DOLLS

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Bridge Theatre

GUYS & DOLLS at the Bridge Theatre

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“Hytnerโ€™s production is a thrilling experience full of surprises”

Guys & Dolls has been playing at the Bridge Theatre since March 2023 in Nicholas Hytnerโ€™s reimagined production which turns the 1950s Broadway musical into full-on immersive production. Its final cast change before its announced closure in January sees Gina Beck taking over as Sarah Brown, also joined by Michael Simkins as Arvide Abernathy. They join members of the previous cast include Owain Arthur, Timmika Ramsay and Jonathan Andrew Hume, as Nathan Detroit, Miss Adelaide and Nicely-Nicely Johnson, respectively.

If youโ€™re not familiar with the story beyond the parody in The Simpsons, it follows Nathan Detroitโ€™s illegal floating crap game, which he hides from financรฉe of 14 years Miss Adelaide. When Detroit places a bet with gambler Sky Masterson that he must take a woman of Detroitโ€™s choosing to Havana, Masterson (George Ioannides) has to try and impress leader of the Save-a-Soul mission, Sarah Brown. What follows is two side-by-side relationship stories alongside visits to the Hotbox nightclub where Adelaide performs.

Hytnerโ€™s production is a thrilling experience full of surprises. Half the audience are stood on and around Bunny Christieโ€™s set which sees stage pieces rise and fall for scenes to be played on before the action quickly moves somewhere else. The work of the stage management team in this production is a feat in itself, as they usher audiences around the moving set pieces, bringing on street lamps, staircases, and even at one moment managing to catch the underwear thrown offstage by the Hotbox dancers.

Having seen the original cast, the newcomers have a lot to live up to, and they absolutely make this show and the roles their own. Ramsay is electric as Miss Adelaide. With expansive vocals, she tears the stage apart with โ€œA Bushel and a Peckโ€, in a number which is sexy, playful, and shows off a star performance. She brings great comedy to โ€œAdelaideโ€™s Lamentโ€ and the rapport with co-star Arthur is sharp and fiery, particularly in their second act duet โ€œSue Meโ€, which plays the line between lust and frustration to perfection.

Gina Beck follows previous leading lady roles, including Glinda in Wicked and, more recently, Maria in Chichesterโ€™s production of The Sound of Music last year. She is very held together as Sarah Brown before letting her hair down and spinning around lamp posts in โ€œIf I Were a Bellโ€, thanks to Arlene Phillips and James Cousinโ€™s choreography. Her voice has gorgeous, crystal-clear operatic tones. She plays against Ioannides, who also returns to the show, and their verision of โ€œIโ€™ve Never Been in Love Beforeโ€ is a total delight. Likewise, Simkinsโ€™ rendition of โ€œMore I Cannot Wish Youโ€, which he sings to Beck, has a real sense of warmth and wisdom which is very touching.

The best number of the show though is saved for Nicely-Nicely Johnson, and is perhaps the best known number โ€œSit Down, Youโ€™re Rockinโ€™ the Boatโ€. Quite hilariously, the number serves very little plot purpose, other than being a distraction so the General doesnโ€™t cotton on to schemes of the crap game players. Cedric Neal received an Olivier Award nomination for originating this role, so again big boots to fill. Hume is fantastic. His Nicely-Nicely is warm, engaging and a little bit cheeky and he looks like heโ€™s having the absolute time of his life performing this number, which in turn lets the audience have a great time as well. The crowd cheer as he encourages the orchestra to give him an encore and the whole room gets involved clapping along.

If youโ€™re going to revive a 70-year-old musical which is, letโ€™s be honest, rather dated in its plot, then this is the way to do it. It never tries to say โ€˜this is nowโ€™ but instead unapologetically transports us to a different time altogether and gives us an evening of thorough entertainment.

Guys & Dolls plays at the Bridge until January so if you havenโ€™t yet made it along to this 5-Star production make sure that you do. Thereโ€™s nothing else quite like it!


GUYS & DOLLS at the Bridge Theatre

Reviewed on 9th September 2024

by Joseph Dunitz

Photography by Manuel Harlanย 

 

 

 


 

 

 

 

 

Previously reviewed at this venue:

GUYS & DOLLS | โ˜…โ˜…โ˜…โ˜…โ˜… | March 2024

Guys

Guys

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PEOPLE, PLACES & THINGS

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Trafalgar Theatre

PEOPLE, PLACES & THINGS at the Trafalgar Theatre

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“a gripping performance that shoots up right into our bloodstream”

In Duncan Macmillanโ€™s unsettling play, โ€œPeople, Places and Thingsโ€, we are taken headlong into the mind of an addict in forensic detail. Without the need of a surgeonโ€™s eye glass or scalpel we witness the outer layers being peeled back by the incisive dialogue, the razor-sharp acting. But also Jeremy Herrinโ€™s staging which is inseparable from Bunny Christieโ€™s set design that pulses throughout to the distorted and fractured rhythms of the protagonistโ€™s identity. Identities even, whether they are true or false. We are never sure, and neither is she. How can you lie about who or what you are when you believe there is no truth to begin with?

โ€˜Sheโ€™ is Nina, drunkenly murdering Chekhovโ€™s iconic dialogue. But then she is Emma, taking a line of cocaine before reluctantly checking into rehab. Then again, she might not even be Emma. One thing we are certain of, though, is the sheer, brutal brilliance of Denise Goughโ€™s portrayal of this complex and compelling character. We cannot escape her, trapped as she is in Christieโ€™s white tiled set with its hidden doors and camouflaged ventilation grids that allow little breathing space. It bursts into chaotic crashes of techno nightlife before melting back into the mundane sobriety of a rehab clinic. Everything is an extension of her mind, even the people.

 

 

A running gag is the fact that Emmaโ€™s therapist and doctor are the spitting image of her mother. Sinรฉad Cusack gives a stunning performance in all three roles including the mother, highlighting the contrasts and the similarities of each character. The therapistโ€™s โ€˜cruel-to-be-kindโ€™ approach offset by the motherโ€™s bitter, beaten, and threadbare love for a daughter she thinks doesnโ€™t deserve it. Similarly, Kevin McMonagle doubles as a crazed rehab patient, re-emerging as Emmaโ€™s father in Act Two. There is no moralising here. Just a bare dissection of grief in the wake of a dead son and brother.

The fall out of addiction is the core of the piece, and we see it through Emmaโ€™s eyes. Macmillan offers no judgement whatsoever as each aspect is picked apart. Gough takes us on an authentic journey through the milestones of denial, anger, anxiety, paranoia, truculence, withdrawal. A personality shattered into many shards, none of them trustworthy or trusting. Nightmares unfold before her eyes as Emma emerges in multiple forms, crawling from the walls, out of the bed, twitching and spinning around her until you canโ€™t really tell which one is the real Emma. James Farncombeโ€™s lighting plunges us into Emmaโ€™s drug-fuelled blackouts with a ferociousness matched by Tom Gibbonsโ€™ soundscape.

Mercifully there is hope. Malachi Kirby, as fellow user Mark, describes himself as a โ€™scream in search of a mouthโ€™ but ends up working at the clinic as a volunteer. He has more than a second sight. All knowing, he helps pull the truth from Emma as she eventually tries to โ€˜come cleanโ€™ – in all senses of the word. Not everybody is so lucky. We learn how profoundly difficult it is for the addict to avoid the people, places and things that can, at any time, trigger a relapse. The emotional confrontations are frighteningly true to life and at times devastating. Yet the miracle is that there is still plenty of room for humour, and the central theme of addiction steps back once in a while to let these multi-layered personalities fill the stage. There is a humanity in all the performances that transcends the subject matter. Yet it is always there, as a grim and palpitating pulse. And at its heart is Gough โ€“ in a gripping performance that shoots up right into our bloodstream. The play is truly addictive.

 


PEOPLE, PLACES & THINGS at the Trafalgar Theatre

Reviewed on 15th May 2024

by Jonathan Evans

Photography by Marc Brenner

 

 

Previously reviewed at this venue:

JERSEY BOYS | โ˜…โ˜…โ˜…โ˜… | August 2021

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