It may be the finest musical theater experience-book, music, lyrics-ever created, and Stages St. Louis did "Guys and Dolls" full justice with a rich production that, unfortunately, opened musically short last night at the Robert Reim Theater, to run through Oct. 4.
To my mind, no one matched Frank Loesser when it came to creating a musical. His lyrics are darn near perfect in this series of Damon Runyon stories knitted together by Loesser’s wife-to-be Jo Swerling and the great Abe Burrows, and praise to director Michael Hamilton for using Loesser’s originals even if they’ve lost a bit through the years. In "Take Back Your Mink," the term "Hollanderizing" refers to a patented process used by a chain of cleaners in New York at the time, and when Nathan Detroit talks of a white house with a green fence, "the Whitney colors," he’s connecting with the colors of the silks worn by jockeys riding horses for the Whitney Stables, a racing dynasty of the period.
Burrows’ book uses a lot of Runyon’s brilliant dialogue, and if the evening is a little long, well, just sit back and enjoy everything that’s on the stage, beginning with the stories, and imagine how Lou Bird’s costumes, which take color into new combinations, would look on St. Louis’ TV sports commentators.
The tale involves Nathan Detroit (a very busy, spirited, imaginative portrayal by David Foley Jr.), who is looking to find a home for his "longest established permanent floating crap game in New York," while continually resetting his marriage date, a key in his relationship with Miss Adelaide, star of the Hot Box Revue, his fiancee for 14 years and the person who "gets on the train for Niagara. . . (and) gets off at Saratoga for the 14th time," therefore developing psychosomatic illnesses.
Cardia and Foley, plus Kate Fisher (Sarah Brown) are all new to Stages and it’s good that Producer Jack Lane and director Michael Hamilton are bringing new faces and skills into three of the four principal positions. Stages does some splendid work, and uses local talent a lot, but it’s good to see a mix on the stage. The fourth principal, Edward Watts as Sky Masterson, has played here before, and he’s outstanding as the handsome, slick-talking gambler who will bet on anything, and loses infrequently. His seduction of Sarah Brown, fueled largely by alcohol, makes for a fine scene as the dancers provide a fine counterpoint. Fisher’s portrayal of the "Mission Doll," was slightly erratic, but mostly very effective and her vocals were striking, especially in "If I Were a Bell" and the first-act finale, "I’ve Never Been in Love Before" a strong duet with Watts.
Edward Juvier, splendid as Aldolpho in "The Drowsy Chaperone" earlier in the season, is a scene-stealer as Nicely-Nicely Johnson, who does the brilliant "Sit Down, You’re Rockin’ the Boat," the not-quite gospel number that Stubby Kaye originated and which St. Louisan Ken Page played numerous times, always with style. In the days when curtains went up later and plays lasted longer, musicals always had "the 11 o’clock number," usually the show-stopper or a high point. Juvier’s performance was one of the best, and the full cast, delightfully choreographed by Dana Lewis, made it a rousing success.
John Flack was outstanding as Arvide Abernathy, grandfather to the "Mission Doll," with a lovely rendition of "More I Cannot Give You," and Zoe Vonder Haar, kicking up her heels as a tourist in the opening number, returned as a dour Gen. Matilda Cartwright who turned charmingly flirtatious when Masterson walked into the mission. The twinkle in her eye was evident throughout the theater.
Historically, "Guys and Dolls" opened on Broadway in November, 1950, with Robert Alda (Alan’s father) as Sky Masterson, Sam Levene as Nathan Detroit, Isabel Bigley as Sarah Brown and Vivian Blaine as Adelaide, known only as Miss Adelaide until she married and became Mrs. Detroit. Alda and Bigley won Tony Awards as did George S. Kaufman for direction, Michael Kidd for choreography and the show as Best Musical.
The production, which closes Stages’ 2009 season, was very good, but Loesser, whose music deserves better, got lesser than he should have. The score needs more brass, and the synthesizer’s synthetic sound is weak in that area. And since the Stages management is properly dedicated to having a stage full of real (Actors Equity) actors, a pit full of real musicians would be nice, too.
"Guys and Dolls," by Stages St. Louis, through Oct. 4 at the Robert Reim Theater, Kirkwood.
–Joe
Comments
2 responses
And where exactly would a full pit of musicians sit under that little bitty stage?
We’ve seen shows with musicians upstage, to the side…they could even record a live multi-musicianed group the way they’ve recorded the synthesizer.