REVIEW | Guys and Dolls, Bridge Theatre
Cedric Neal and the cast of Guys and Dolls. Credit: Manuel Harlan★ ★ ★ ★ ★
Reviewer - Annie
*Disclaimer: Gifted tickets in return for an honest review
If there’s one show in London that has had continuous hype in 2023, it certainly is the revival of Guys & Dolls at the Bridge Theatre. Testament to the fact that the production has been extended thrice (and I’d be lying if I said I wasn’t hoping for a fourth extension), this is one of the highlights of this year's theatrical calendar. I was fortunate enough to be invited to watch the show this week, and I was as gleeful as ever to be back watching this stunning revival.
This was my third visit to the Bridge Theatre’s production, and if anything this show gets better every time I see it. Not only is it special to be able to focus on the finer details on a return trip, having already seen and understood the story - but this production just has so much to offer, I really think you’d struggle to not find something new with each viewing. The theatre whose stage has been inspired by the traditional round, but has been modernised (thank you for comfortable, spacious seats!!) really has the task of making the production both dynamic and colourful from each side, and it certainly manages this with what feels like no difficulty.
Known for its ability to create immersive shows, Bridge Theatre took on a challenge by taking a classic show and reimagining it for a modern space. What they’ve managed to create is not only an incredible experience, but one which transports you back in time to 1940’s New York. Entering the theatre to street sounds and car horns, the ushers kickstart the theatrical magic, making you feel like you’re a part of the action. The stage then magically rises from the ground, making the space feel intimate and the immersive elements even more impressive. The moving staging mixed with the energetic movement of the cast makes the show so dynamic and completely draws you in - leaving the streets of London behind and taking a step back into old school New York.
On this visit I chose seated tickets, having been in the standing pit for the prior two visits. As much as I love the standing experience, I wanted to see if the show feels as magical from a more distant perspective. My friend who joined me in the evening was reluctant to try the standing tickets (his personal hell being brought up on stage during a show) so this felt like the perfect opportunity to watch from a seated view. I must admit I was hesitant that I might not come away from the show with the same euphoric excitement as on my previous trips, but I was hugely surprised by the impact the show had from the stalls.
The choreography and direction has been impeccably revised and it is evident the team have sat in every seat during rehearsals to ensure the show translates from every angle. It was amazing to be able to take in the whole stage and see every moving part - as from standing you perhaps miss some sides of the action due to being too drawn in by the elements closest to you, so there were so many bits I'd not seen before. I genuinely believe there to not be a bad way to see this show - standing or seated is just as extraordinary.
It is no well-kept secret that I’m a sucker for any legit MT show, and I especially champion these revivals becoming more and more frequent, as it is bringing new audiences into these shows - some of which could perhaps be slightly outdated in terms of viewpoint. I personally think Guys & Dolls is the perfect show to have put into this context - as it is an age old story which easily fits into modern society just as much as it still comfortably plays in its context of the 1940’s era.
Although certain elements could be portrayed as stiff or dated, the content of the show has been toyfully played with to create more modern themes - such as the compiled “Havana” scene, which in truth has absolutely no context but is so joyful to watch. I think what makes this production so successful is that they’ve not taken it too seriously, and instead have leaned into pure joy and play off of just creating the very best atmosphere and evening for the audiences. The characters are almost larger than life and cartoonistic, but it somehow works whilst still appealing to classic and modern audiences.
The glorious ballads mixed with the upbeat showstoppers such as “Luck Be A Lady” creates such a complex and memorable score - which the cast has so much to play with. I am quite literally counting down the days until this cast recording is released - as Marisha Wallace’s version of “Take Back Your Mink” is mind-blowingly outstanding. Both Andrew Richardson and Celinde Schoenmaker as Sky Masterson and Sarah Brown. Both complement each other so harmoniously their love story unfolds so organically, that it’s hard to not get swept up in their romance. Contrasting their innocent love story is that which unfolds for Nathan Detriot (Owain Arthur) and Miss Adelaide (Marisha Wallace) who play their parts with strong comedic value and passion. I love the contrast between the two love stories in this show - and especially think it helps keep the storyline relevant in today’s world, offering so much colour on what love really means.
Arlene Phillips’ choreography is as impeccable as ever, bringing dynamic movement and slick shaping to the plain stage. It moves to ensure every side of the theatre can experience the detail and is yet another triumph for her repertoire. The ensemble are incredible dancers - mixing their hard-guy personas with balletic movement creates such professionalism and really embraces some of the most desirable traits from the show’s era - think Frank Sinatra’s dancing with a classic gangster movie’s characters.
I truly believe it’ll be a struggle for any show to knock this production out of my top three for the year, and I think I will be dreaming of this show for a very long time. I think a return trip is certainly on the cards before their closure in February 2024.
