SKOKIE, Ill—It’s been 75 years since “Guys and Dolls” opened in 1950 on Broadway. At that time, it received glowing reviews from critics and raked in big box office bucks from theatergoers. It has since played worldwide and now is in a triumphant revival at Music Theater Works at the North Shore Center for the Performing Arts.
Some may say that its staying power has to do with its hoot of a laugh-filled plot adapted by Jo Sterling and Abe Burrows from short stories by Damon Runyon (1880–1946) about 1920s and 1930s’ New York City. It could be that the show’s comedic flair and colorful characters of gamblers, gangsters, showgirls, and Salvation Army soldiers make for laugh-filled entertainment. Or maybe it’s Frank Loesser’s memorable musical score. Or perhaps, it’s a combination of all these and more.
Indeed, under Sasha Gerritson’s faithful and fast-paced direction, the Music Theater Works’ production hits all the right notes. She brings a lot of talent together to make this revival exceptional. Joining her are music director Linda Madonia; Kevin Disch’s orchestra, which charms with an exhilarating flair; and Ben Lipinski’s set design, which, together with Bob Kuhn’s costumes, create a flashy nostalgic New York-Times Square of yesteryear.
It begins as Nathan Detroit, who runs the oldest floating crap game in New York, finds himself desperate for money. When big-time gambler Sky Masterson arrives in town, bragging that he can have any woman he wants, Detroit sees his chance. He bets Masterson that he can’t have any woman he wants, pointing to Sister Brown of the Salvation Army.
As we meet the wise guys in the show, we can’t help but laugh at the way they mix formal language with streetwise slang. It takes some fine acting and vocal prowess to make those characters believable, and the performers in this show are compelling.
Another delightful duo is Callan Roberts, hilarious as Nathan Detroit, and Kristin Brintnall as the Hot Box dancer Miss Adelaide. Roberts has terrific comic timing and is a lot of fun when singing “Sue Me” and trying to keep his 14-year engagement to Adelaide intact. Brintnall, as Adelaide, is convinced that she keeps coming down with colds because she that engagement is never ending. She almost stops the show singing “Adelaide’s Lament.”
Also giving wonderful performances are Andrew Freeland as Big Jule, Adam Raso as Harry the Horse, and Bob Sanders as Arvide Abernathy.
While musicals today have one or two good songs, “Guys and Dolls” stands out with its overflow of remarkable tunes such as “A Bushel and a Peck,” “More I Cannot Wish You,” “Guys and Dolls,” and “Fugue for Tinhorns.”
Moreover, the show is enhanced by Clayton Cross’ delightful choreography, such as in the rollicking “Crapshooters Ballet,” the sensual “Take Back Your Mink,” and the rousing “Sit Down, You’re Rockin’ the Boat” at the Save-a-Soul Mission revival meeting.
A crowd-pleasing show, this “Guys and Dolls” is not to be missed.
