Opening just two weeks after the tragic events of September 11, 2001, Guys and Dolls seems like a New York that's cloaked in a hopelessly innocent time, when the greatest dangers were associated with gambling and alcohol. Oh, for the good old days!
In this production, a hip and limber-jointed Maurice Hines stars as a nimble Nathan Detroit, the legendary gangster in charge of the "oldest established permanent floating crap game in New York." Hines mugs shamelessly, much to the audience's delight and this critic's irritation. Hines opens the show with one of several dance numbers added to showcase his talents. Turning Guys and Dollsinto a dance show isn't a half-bad idea, and the sharply choreographed numbers add some zip to this aging piece.
Overall, Guys and Dolls holds up wonderfully well. Its structure -- and especially its songs û- create onstage magic, with memorable tunes in nearly every scene. However, the flat relationships between characters do not do justice to the lyrics, which hint at romantic ecstasy ("If I Were a Bell" and "I've Never Been in Love Before."). Even the real-life married couple, Diane and Brian Sutherland as Sarah Brown and Sky Masterson, do not ignite the required "chemistry" as opposite-attracting lovers. Part of the problem may be Brian Sutherland's unease in this role. He struggles with his New York accent and is less smooth than a typical Sky Masterson.
Diane Sutherland, if paired with another leading man and talented supporting characters, would stand out as the true star of the show. She possesses the right balance of vulnerability and iron will that makes Sarah such an interesting character. Alexandra Foucard's over-the-top portrayal of Adelaide, the Hot Box singer, is a nice departure from the norm. Her longstanding devotion to Nathan Detroit still produces chuckles. The idea of a 14-year engagement is even funnier in today's world. Of course, these days she probably would have been an unwed single mother, raising Nathan's kids and pestering him for child support.
Other key supporting roles are less successful. Clent Bowers is the correct girth for gangster Nicely-Nicely Johnson, but he does nothing to erase the shadow of Stubby Kaye, who portrayed the part in the original Broadway production, and in the film. However, Bowers does a good job in belting out the number, "Sit Down, You're Rockin' the Boat." A better choice for a grizzled gangster is veteran Lawrence Redmond. He seems perfectly suited to the part of Benny Southstreet, as does Carlos Lopez as Harry the Horse. Donna Migliacco impresses in her cameo appearance as the militaristic General Cartwright, who threatens to close the Save-A-Soul Mission unless it can produce immediate results. As Sarah's kindly grandfather, Arvide Abernathy, Tad Ingram has a nice moment with the ballad, "More I Cannot Wish You."
Although this production has some nice touches, such as the added dance numbers, the cast's racial diversity, and a few fabulously clever costumes, it falls far short of its goal of rethinking a classic musical. For some reason, most of the staging forces actors to direct address the audience. This was preferable in the days before body mikes were invented. But today's actors have more freedom to interact; when they fail to do so, it looks stilted. The sets, too, are basically dusted off from the show's past and hold little interest for contemporary audiences. Guys and Dolls has a lot going for it; too bad this production hasn't always come up a winner.
