★★★★★

“It is one of the finest pieces of theatre I have seen”

Simple8 present an ambitious adaptation (by Sebastian Armesto) of Herman Melville’s epic 1851 adventure, directed by Jesse Jones. There is a minimal set (designer Kate Bunce) of scaffolding on either side of the stage. Through the haze can be discerned a cache of musical instruments – fiddle, cello, dulcimer, drum.

Ishmael (Mark Arends) – a well-spoken, well-dressed schoolmaster – sets the scene. He has come to Nantucket to join a whaling ship, just for the experience. As he moves from bar to bar, he hears talk of the mysterious one-legged Captain Ahab, and the name Moby Dick, anathema to many, whispered in hushed tones. Overnight, Ishmael befriends the gentle savage Queequeg (Tom Swale), and together they join the whaling ship Pequod, fatefully chosen at random.

Now the story can start in earnest. The stage is transformed as the brilliant ensemble, singing and playing throughout, builds an impression of the ship using just wooden planks and ropes. A life at sea is recreated – swabbing the deck, sharing some rum, singing songs. If much of the period dialogue is somewhat stilted, the ensemble excels at their dumbshow set-pieces. The crew man the capstan, turning the imaginary wheel with cries of heave and haul, the efforts of their hard work clear to see. A beautiful rendition of a sailing ballad is heard (Jonathan Charles musical director) as the backcloth shines in green and blue reflecting on the romance of the sea (Johanna Town lighting designer).

And then the spell is broken by the sighting of the crew’s first whale. A most brilliantly conceived and executed scene ensues. The crew row out to chase the whale, to subsequently haul it in and demonstrably kill it. The stage is flooded with red light to emphasize the bloody nature of the deed. It is one of the finest pieces of theatre I have seen.

The narrative, as in the novel, is driven by Ishmael and Mark Arends gives a towering performance in this central role – quietly spoken but assured. Captain Ahab (Guy Rhys) does a lot of shouting – the mantra is “Kill Moby Dick” – but we don’t get to the bottom of his obsession beyond that of having lost a leg. The well-spoken Hannah Emanuel gives rather a too light touch in the important role of Mr Starbuck who is the only crew member able to stand up to Ahab. Something more appropriately rougher is provided by the first mates (James Newton & William Pennington). But this is ultimately an ensemble piece with music and movement (Rachael Nanyonjo movement director) central to the storytelling and this talented cast of actor-musicians are excellent throughout. Special mention too for the cellist whose imitative sounds of whale music, especially during the final chase, is so central to the effectiveness and poignancy of the scenes.

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.

MOBY DICK at the Royal and Derngate Theatre

★★★★★

“It is one of the finest pieces of theatre I have seen”

MOBY DICK at the Royal and Derngate Theatre as part of UK tour

Reviewed on 10th April 2024

by Phillip Money

Photography by Manuel Harlan

Previously reviewed at this venue:

MOBY DICK

MOBY DICK

GUYS & DOLLS at the Bridge Theatre

★★★★★

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

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

GUYS & DOLLS at the Bridge Theatre

Reviewed on 11th March 2024

by Rosie Thomas

Photography by Manuel Harlan

More five-star reviews:

GUYS & DOLLS

GUYS & DOLLS