Nancy Anderson

A catchy romantic comedy, with blasts of hilarity, the plot finds Nathan Detroit (Mark Price) seeking another spot for the crap game he facilitates. Sky Masterson (Tony Roach), a suave gambler who will make a bet on most anything, comes along. Nathan challenges Sky and dares him to take a "doll" to Havana. Sky selects sweet, upstanding Sarah Brown (Manna Nichols), who is devoted to Save-a-Soul Mission. Sky falls for Sarah. Meanwhile, the headliner at the Hot Box nightclub is Miss Adelaide (Nancy Anderson) who cannot rid herself of a nagging cold. Nathan has colleagues such as Nicely-Nicely Johnson (Scott Cote), Benny Southstreet (Noah Plomgren), Harry the Horse (Carlos Lopez), and eventually, coming to New York City from Chicago, the immense Big Jule (Jerry Gallagher).

The tunes of the musical are nothing short of sensational and these include: "The Oldest Established," "I'll Know," "A Bushel and a Peck," "Adelaide's Lament," "If I Were a Bell," "I've Never Been in Love Before," "Take Back Your Mink," "More I Cannot Wish You," "Luck Be a Lady," "Sue Me," and "Sit Down, You're Rockin' the Boat."

A producer wishing to mount Guys and Dolls might have two initial thoughts which could represent a blessing and an almost curse. On the one hand, the musical is a proven winner so how can you go wrong? On the other hand, a new production must, at the least, measure up. It is imperative, too, to create something which is distinctive.

Enter, for Goodspeed Musicals, the team including director Don Stephenson and choreographer Alex Sanchez—and various skilled designers. The current version and, remember, the show is subtitled "A Musical Fable of Broadway," begins with dancers moving fluently behind a scrim. Later, during the second act as the gambling boys locate in a sewer, "The Crapshooter's Dance" bequeaths some lovely ballet. Congratulations to Sanchez for creating fluency and precious sequences. Stephenson, at the helm, pushes pace and keeps everyone on and off stage ever involved. Stephen Terry's greenish lighting design for the sewer scene is terrific. Michael O'Flaherty, music director, is a major asset.

Many renderings of Guys and Dolls spin around Nathan's character (as in Nathan Lane in the 1992 Broadway revival). The Goodspeed production boosts and boasts Miss Adelaide who is given a bravura performance by Nancy Anderson. Adelaide is larger than life and Anderson heightens this Hot Box star's persona. The actress takes charge of her role, of Nathan, of the stage. Costumer Tracy Christensen provides enhancing garb for Anderson, and the performer is comfortably audacious. One eagerly anticipates her appearances.

The larger production numbers such as "Luck Be a Lady" and a splashy, animated "Sit Down ..." are executed with precision and joy. The cast members, here and elsewhere, excel with vocals and acting as well.

Guys and Dolls is friendly and familiar theater; there is a temptation to assume that most everyone has seen it previously. Not so. The teenager sitting next to me who had to crane her neck to see around a Big Jule-size man who had the seat directly in front of her, clearly caught the amusing buzz at Goodspeed. Older nearby theatergoers sitting nearby, obviously enjoying the experience, demonstrated that they, too, were newcomers to the musical. As the show unfolded on opening night, these patrons reacted with surprise, uncertain what would next occur. The conclusion is that this tale of lowlifes and others trying to save the world, individuals whose personalities are huge, is memorable for seasoned and first time observers.

It has been said that, before it evolved into the wondrous show we appreciate, Guys and Dolls was originally planned by Cy Feuer and Ernest Martin as a more gently serious romantic piece. Ultimately, they changed course, brought in Abe Burrows, and, combining with Frank Loesser and Jo Swerling, formulated the best of the genre—dashing entertainment which never ages.

Guys and Dolls continues at Goodspeed Opera House in East Haddam, Connecticut, through June 20th, 2015. For tickets, call (860) 873-8668 or visit goodspeed.org.

Photo: Diane Sobolewski

- Fred Sokol