Guys and Dolls as presented by Newcastle Glees MS

Newcastle Glees Musical Society 

Guys and Dolls 

Saturday 9th November 2024 

‘Guys and Dolls’ is one of those shows that never seems to age. A superbly funny, snappy script and an exquisite score by Frank Loesser, combine to ensure that it is always an audience favourite. Newcastle Glees produced a very energetic and entertaining version of the classic musical. The performers often breached the proscenium, bringing the colourful inhabitants of Runyonland right into the audience, much to their delight. 

I’m guessing that few societies in the country can claim to be putting on productions in a venue built over a hundred years ago. Newcastle Glees can boast exactly that, as they own and manage the wonderful Annesley Hall, built in 1891. The lovely hospitality front of house was duly reflected in the uniquely warm and welcoming atmosphere that seemed to emanate from this beautiful venue. 

Laura Kerr did a fine job as director, with a close eye on the comic possibilities of the book. There was such a frenetic energy in the opening sequence, as a multitude of interesting characters vied for our focus and the show burst into life. Dialogue was generally pacy; exactly as it should be in what can be quite a long show. Pace dipped occasionally with some delayed entrances, however. For the most part, action in the auditorium worked really well, giving us an up close and personal theatrical experience. I even got some very authentic literature from the ladies of the Salvation Army! On occasion, action played in front of the audience was obscured. There was really great work in the tricky sewer scene, which had lots of pace, comedy and focus from all of the gentlemen. 

Mark Tilley took up the reins as musical director, bringing the show’s delightful score to life with his wonderful, ten-piece orchestra. The orchestra sound was remarkably rich and full, excellently mixed by the sound department. The contrapuntal ‘Fugue for Tinhorns’ was so well sung, with the perfect dynamics allowing the melody to feature strongest, depending on who was singing it at the time. Chorally, this was an excellent show. From the Hot Box girls’ fun numbers to the iconic and excellently performed ‘Luck Be a Lady’ the ensemble singing was top notch. But it was the brilliant ‘Sit Down You’re Rockin’ the Boat’ that really showcased the excellent group vocals. 

Choreography was in the very experienced hands of Clare Donnelly, whose vision and creativity were all over the show. She devised some wonderfully dynamic routines, culminating in the excellently rehearsed and slick Crapshooters’ Ballet which had the audience crying out for more. This really was the standout number of the show. Not to be outdone though, the Hotbox girls really impressed in Take Back Your Mink, which was a really polished, fun number with great performance levels from all. I loved the very cleverly staged ‘Sit Down You’re Rockin’ the Boat’ which swept us all along on the crest of a wave as everyone got drawn into Nicely’s ‘dream’ with unconstrained abandon. 

Allen Gordon was a very charming and charismatic Sky Masterson. Mr. Gordon had excellent stage presence. He was in tune with the text at all times in what was a very thoughtful and intelligent interpretation of his role as the confident, high-stakes gambler. His knowing 

manipulation of Sarah as he lured her in, his mind set on Havana, was very cleverly played. He sang beautifully too. ‘My Time of Day’ was absolutely gorgeous, showcasing Mr. Gordon’s rich, melodic tones so well. 

Francis McKinney played the central role of good old reliable Nathan Detroit. Mr. McKinney gave us an extremely energetic portrayal of the eternal bachelor who has been running an illegal crap game ever since he was a juvenile delinquent. He was clearly putting his heart and soul into the iconic role and there was no doubting Mr. McKinney’s talent. At times, he needed some guidance regarding overuse of hand gestures which were very busy indeed. Mr. McKinney’s facial expressions, accent and comic timing were all very strong and he got a great audience reaction. He sang very well too, especially in the very funny ‘Sue Me.’ A solid portrayal of the role. 

Emma-Jane McKnight was an excellent choice to play ‘mission doll,’ Sarah Brown. Ms. McKnight was a very strong actress who moved seamlessly from prim and proper Salvation Army girl in the earlier scenes, to a deliciously funny, drunken mess in Havana. She balanced the comic with the strait-laced so well, giving us a very gentle, yet passionate, interpretation of the role. What a voice Ms. McKnight had too. Her rich, soaring soprano was an absolute joy. She showed excellent control and was most impressive in ‘I’ll Know’ where her wonderful top register was most impressive. 

That well-known fiancée, Adelaide, was played by Orla Russell, who lit up the stage in every scene. Ms. Russell was heartbreakingly hilarious. She found depth and nuance at every turn, balancing heartache with delicious ditziness, making her a most lovable character. ‘Marry the Man Today,’ with Ms. McKnight, was one of the highlights of the show for me and Ms. Russell’s vocals in all of her numbers was most impressive. An excellent comic performance. 

Josh Clarke was a very likeable Nicely Nicely Johnson, with excellent comic timing. His dialogue was snappy, his diction was clear, and his reactions were suitably animated in a really fun portrayal. Mr. Clarke is clearly a gangster in real life too, as he almost stole the show with his fantastic performance of ‘Sit Down You’re Rockin’ the Boat.’ Super work! 

Melissa Maguire played the hard-nosed General Cartwright, doing so with an imposing presence that was perfect for her domineering character. I felt that delivery of dialogue needed to be bigger and more boisterous, in order to match this very strong presence. I loved her little comic turn as she refused Nicely’s whiskey in ‘Sit Down You’re Rockin’ the Boat,’ a fleeting but very funny moment. 

Harry the Horse was played with great comic flair by Finbar Finnegan. Mr. Finnegan was a real shady character with superb comic timing. His mix-up between his getaway car and his Buick was beautifully timed. 

Diarmuid Taggart brought warmth, sincerity, and humour to the role of Arvide Abernathy. A very clever actor, he brought layers of nuance to a role that can often be thrown away. He had wonderful comic timing too, He displayed a lovely baritone in the superbly performed ‘More I Cannot Wish You,’ in which he connected with the lyrics in a most touching and sincere way. The connection with Sarah was beautiful. 

Martin McDowell gave a very memorable performance as a gravelly-voiced Big Jule, the ‘scoutmaster’ from East Cicero who takes Nathan to the cleaners during the much-anticipated crap game. Mr. McDowell had a most imposing presence, (which nobody can deny!), and he controlled the pace in the sewer scene perfectly. And it has to be said that it’s not too often that you get a Big Jule who can dance the Crapshooters’ Ballet as well as Mr. McDowell did! Bravo.

The decision to have hard-nosed Lieutenant Brannigan played as a very ‘stage Oirish’ cop was, for me, misjudged. That said, Sean Trainor was clearly a talented performer, with great expression, presence, and wonderful diction. However, the ‘be the hokey’ take, which was played for laughs at every opportunity, just didn’t sit well with me and took away from Mr. Trainor’s overall performance. 

Stephen Donnan-Dalzell was a most exquisite Hot Box MC, played with a flamboyant flair and a touch of decadence that was both daring and original. They owned the stage and made the very most of their scenes, rocking their very unique look in a very fresh take on what is often a throwaway cameo. 

James Marsden, Gordon Donaldson, and Luca Keaveney were all strong as Benny Southstreet, Angie the Ox and Rusty Charlie, with Mr. Marsden shining in the excellent ‘Fugue for Tinhorns’ and with his very funny cheesecake shenanigans. 

Katy Keaveney was a supportive Agatha and Clare Cunningham got good fun out of Mimi, somehow managing to find her earring on the Hot Box floor. 

A committed ensemble impressed vocally, and their dancing was strong in the big production numbers where they put huge energy into every routine. I was very impressed by the gentlemen who put such great effort into their reactions to the Hot Box routines. They were really enjoying themselves! ‘Sit Down You’re Rockin’ the Boat’ was a tour de force with every cast member giving their all and enjoying every second. 

Stage manager Clair Williams ran a really tight ship and ensured that her crew were organised and slick for all changes. In such an episodic show, it is important to keep things flowing and Ms. Williams was acutely aware of this. Movement of the trucked pieces was very well choreographed and there were no obvious glitches on the night that I attended. 

Set design was simple but very functional. The upstage NYC skyline looked great, and the four multifunctional pillar trucks were cleverly effective in minimising the space restrictions. The newsstand looked very well. The sewer was most impressive and the upper level for Sky and Nicely’s entrance worked really well. I really liked the straw umbrella for Havana, although the inflatable palm tree was not of the era. 

Props were a little hit and miss and I would go as far as to say that some items should not have been allowed onto the stage. The Salvation Army bass drum, with Union Jack and associated branding, looked out of place, as did the flag used in the opening procession through the audience which referenced Belfast. The kitchen shower props were plentiful and authentic. There was lots of money floating about the crap game but cast needed to ensure that they had enough to accurately reflect the lines. 

A very strong lighting plot complemented the dramatic action of the production very well. Havana was very impressive as the heat and driving energy of the scene were reflected in the dynamic lighting. The sewer scene was excellently lit, giving us a dark, atmospheric feel without ever compromising on clarity. A standout lighting moment was that dramatic first cue into ‘Luck Be a Lady Tonight,’ creating a stunning picture as Sky contemplated his biggest gamble yet. 

I thought that the sound design was pretty much flawless in its operation. The orchestra was mixed to perfection. Dialogue and singing were crystal clear and there was a lovely array of sound effects which added nicely to street scenes and the sewer in particular. Cast just needed to be conscious of pulling back their ad libbed, background dialogue when their mics were on, as they were occasionally competing with the scripted dialogue.

A superb costume plot added great depth and authenticity to the production. Everything appeared era appropriate. I loved the gangster outfits, and the spats were a particularly nice touch. The Salvation Army uniforms were perfectly staid. The Hot Box outfits, complete with birds’ nests and detachable eggs were a hoot and Adelaide’s ensembles were suitably over the top. The long dresses for ‘Take Back Your Mink’ were very elegant and Adelaide’s wedding was…well, very Adelaide. 

Hair and make-up were appropriate for the era. The news vendor’s blonde wig needed attention (*prays it was a wig!) and some of the Hot Box ‘Take Back Your Mink’ wigs needed fixing for a more polished overall look. 

This was a highly entertaining and fun production of one of the most iconic stage musicals ever written. It had it all and the audience responded accordingly. It was a pleasure to attend this unique and historic venue for what was a really great night’s entertainment. I sang all the way home! 

Pat McElwain 

Gilbert Adjudicator 2024/2025