Tag Archives: Michael Simkins

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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Backstairs Billy

Backstairs Billy

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Duke of York’s Theatre

BACKSTAIRS BILLY at the Duke of York’s Theatre

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Backstairs Billy

“Evansโ€™ performance is majestic in itself โ€“ flamboyant, teasing and mischievous, yet complicated”

William Tallon started writing letters to the Royal Household, asking for work, when he was aged ten. His dream was achieved five years later, in 1951, when he was invited to Easter Court at Windsor, then Buckingham Palace. After the death of King George VI, he followed Queen Elizabeth the Queen Mother to Clarence House, where he remained until her death in 2002. During his time, he earned the nickname โ€œBackstairs Billyโ€, having risen to the position of โ€˜Page of the Backstairsโ€™. His service and devotion have seeped into popular culture, spawning a Channel 4 documentary two years after his own death, and now Marcelo Dos Santosโ€™ new play in the West End.

Set at the end of the 1970s, Michael Grandageโ€™s production comes dressed as a gentle comedy โ€“ almost a farce โ€“ but has an extra-strong kick to it beneath the surface. Much like the cocktails Billy serves to The Queen Motherโ€™s guests; all sweet cordial yet with a hidden punch that takes you by surprise. We meet Billy (Luke Evans) presiding over the Household staff, like a virtuoso conductor, as they prepare for one of Maโ€™amโ€™s receptions in the Garden Room of Clarence House. Immediately we latch on to his irrepressible and subversive irreverence, matched by his unfailing loyalty. We can see why he has earned his privileges, and the special place he holds in the Queen Motherโ€™s heart. Evansโ€™ performance is majestic in itself โ€“ flamboyant, teasing and mischievous, yet complicated. Much comedy is drawn from his relationship with other members of the staff, particularly the rivalry with Mr Kerr (Ian Drysdale) the officious killjoy bent on driving Billy out.

“a gorgeously entertaining and traditional piece of theatre”

The Queen Mother was traditionally (allegedly) quarter of an hour late for her โ€˜at-homesโ€™. It is the same amount of time before Penelope Wiltonโ€™s queenly entrance. Immediately in command, Wilton has grasped the hidden essence of the Queen Motherโ€™s character and philosophy. It has often been said that when people met her, she did her best to make them go away feeling better. There is a glint in Wiltonโ€™s eye and an infectious smile that matches Evansโ€™ naughtiness. The dynamic between Wilton and Evans is a true delight to watch. Yes, they may be an odd couple, and the Royal etiquette may be stretched a bit, but it is a totally believable friendship that works well on stage. Dos Santosโ€™ script is packed full of one liners that poke fun at all levels of society. A strong supporting cast play various guests, whose comedic flare reminds us of the colourful and eccentric characters who populated Fawlty Towers.

The second act wanders into all out farce. Billy was (allegedly โ€“ again) known for bringing his gay lovers back to Clarence House after dark. In the play, one such โ€˜pick upโ€™ was black artist (Eloka Ivo) who leaves behind his latest sculpture, a large black phallus, which inevitably rears its head the following day. Ivo displays a comic genius as he is mistakenly passed off as a Prince of Lesotho when he returns to collect his โ€˜artworkโ€™. We are now in Joe Orton territory, but we are keen to be steered back to the central couple. When we are, it is in the aftermath of this scandal that threatens Billyโ€™s position. A slightly jarring moment during which the Queen Mother tests Billyโ€™s loyalty almost sadistically.

But overall, it is a gorgeously entertaining and traditional piece of theatre. Admittedly some serious issues are glossed over. The โ€˜Winter of Discontentโ€™ that is blowing outside beyond the comfortable confines of Clarence House is cursorily commented on. Yet the subject of class divide is sensitively touched upon between the comedic lines. There are flashback scenes to the recently widowed Queen Mother during which Ilan Galkoff touchingly portrays a fifteen-year-old Billy at the start of his journey, while Wilton draws every ounce of empathy with her depiction of a woman learning to laugh once again. Backstairs Billy was a breath of fresh air to the former Queen consort. โ€œBackstairs Billyโ€ is a breath of fresh air in the West End.


BACKSTAIRS BILLY at the Duke of York’s Theatre

Reviewed on 8th November 2023

by Jonathan Evans

Photography by Johan Persson

 


 

 

 

Previously reviewed at this venue:

Much Ado About Nothing | โ˜…โ˜…โ˜…โ˜… | February 2023

Backstairs Billy

Backstairs Billy

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