GUYS AND DOLLS
Cambridge Arts Theatre
★★★
“a charming, spirited take on this musical theatre classic.”
‘Guys and Dolls’ lands in Cambridge courtesy of the Cambridge Operatic Society, a seasoned amateur society known for high quality staging. As the only non professional company to grace the Cambridge Arts Theatre stage, expect a show packed with charm and ambition, if a little rough around the edges. But then, who isn’t?
In 1950s New York City, small time hustler Nathan Detroit needs dough to keep the heat off his illegal craps game – so he wagers high roller Sky Masterson that Sky can’t charm missionary Sarah Brown into a trip to Cuba. Meanwhile, ageing showgirl Miss Adelaide finds her patience wearing thin with marriage shy Nathan, and Sarah’s mission is on the line without more ‘sinners’. By helping each other, maybe they’ll end up lucky in cards and love.
Jo Swerling and Abe Burrows’ classic book receives a subtle lift of modernity under Helena Petrovna and David Barrett’s direction, choreography and production. Yes, there are ‘Noo Yawk’ accents, neon lights and circle skirts; but there’s also pleasing takes on time worn tropes. Sarah boldly initiates all the kisses; a line swap lets Sky side-step non-consensual drinking; Adelaide is humanised beyond the ‘long suffering fiancée’ archetype; likewise Nathan shows affection long before ‘Sue Me’. Perhaps most pleasingly – and unexpectedly – Arvide Abernathy subtly reveals a lost queer love, adding poignancy to hope. All scenes are dynamic, bringing the characters and setting to life. The choreography is a little mixed, with a show-stopping ‘Sit Down, You’re Rockin’ the Boat’ sitting uneasily alongside cheesier numbers. Though thanks to the thoughtful interpretation, the production retains a certain charm.
James Harvey’s musical direction boosts Frank Loesser’s score with a brassy 20-piece band. Some entries and intonations could be tighter, but the overall effect remains impressive for an amateur production.
The set design conjures New York with smart use of levels and light strips, while onstage screens supply visual detail – including the delightful correction of a certain Bible quote.
Dominic Plunkett’s lighting deftly evokes the skyscraper silhouette of nighttime New York, offering a pleasing contrast with balmy Cuba. The base state could use a touch more attention, with slightly patchy cover.
Jonathan Armitage’s sound design, supported by Sophie Ruh and Rhydian Green, fills the space with orchestra, voices, and ambient sounds that place us in the streets and the sewers. The balance and mic cues could use fine tuning, with an overpowering orchestra and some late entries breaking the flow.
The costume design evokes the 1955 film, with crisp red missionary uniforms and sharp suits of the gamblers. The Hot Box girls sport suitably saucy numbers and, in the spirit of gender equality, so do the men at one point (!). Everything loosens in the shift to Cuba, though clothing a Cuban child in a sack feels like an unnecessary misstep.
The four principals are fantastic, with Saskia Edwards-Korolczuk’s Sarah and Luke Thomas’ Sky offering assured, engaging performances with standout vocals. Vikki Jones’ Adelaide is irresistibly charming, with a confident accent, nuanced characterisation and soaring vocals giving her great warmth and humanity. Scott Riley’s Nathan has easy comic rhythm, gentle tenderness and secure singing, making him an endearing hustler. The remaining company is more variable, particular the gabbling gamblers who lose stretches of dialogue and lyrics. The ensemble’s enthusiasm is undeniable, but a touch more precision would help their work land with greater impact.
With commanding leads, richer characterisation and some genuinely fabulous vocal work, the Cambridge Operatic Society’s ‘Guys and Dolls’ delivers a lively, good hearted night out. It may not reach West End heights, but it’s a charming, spirited take on this musical theatre classic.
GUYS AND DOLLS
Cambridge Arts Theatre
Reviewed on 14th January 2026
by Hannah Bothelton
Photography by Peter Buncombe
