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pensnest'Guys and Dolls' is the best musical ever written. I am not prepared to argue this: if you do not believe me you will just have to see it for yourselves. I've just got back from the matinée, featuring Ewan McGregor as the romantic lead, and it was (naturally) very enjoyable indeed.
I don't think anything will quite live up to the production I saw at the National Theatre a few years ago, with Clarke Peters as Sky Masterson - he has such an easy, self-assured style that he remains the best Sky I have ever seen. Still, Ewan McGregor does a fine job, a wee bit stilted at first, I thought, but getting very nicely into it, and in fine voice. And it is no kind of problem to imagine a straight-laced miss falling for him, in his hat an' all. I do like a man who can wear a hat. His Sarah was Jenna Russell, who was excellent - particularly in the Havana scene; Douglas Hodge was a thoroughly lovable Nathan, and Jane Krakowski a super Adelaide, who made me sniff wistfully in the reprise of 'Adelaide's Lament'.
The high spots were the aforementioned Havana scene - really, really good fun, with some fabulous dancing and a Sarah getting progressively drunker and more limp-limbed all the time; and 'Sit Down You're Rocking the Boat', which was beautifully set and very rousing. It didn't attempt to compete with the National's version, at which Clive Rowe's astounding, enormous voice commanded four encores (and an audience that would have stood for more!) (I've never actually experienced that before - a number *actually* stopping the show. It was great!), but had a terrific reprise built in, and was energetic and funny and hugely enjoyable. Some of the other numbers were a bit disappointing: I was sorry that 'Guys and Dolls' was basically done by two guys on an empty stage, because if - no, WHEN - I get to direct it with my local group I shall fill the stage with people. I spose professionals don't have to worry about whether the chorus get stage time. Also, I did not like the Hot Box numbers. I always think of Adelaide as endearingly innocent despite her profession - and to see her feeling herself up, and topless in one number, didn't seem right to me. Also, the 'farm girls' stripping down to cut-offs and halter tops turned it from a period piece to a pop video, and I didn't like it. Oh, and I dare say it is a period touch to have people light foul-smelling cigarettes every five minutes, but I pity the unfortunates in the stalls - I could smell the vile smoke in the grand circle, and ew.
I had forgotten so many of the funny moments: a particular stand-out was Lieutenant Brannigan arriving as Nathan is talking to a line-up of all the gamblers in town, who at once pretend they are going to a, hmm, party. With the song 'Adelaide' it made a lovely comic scene. And, it was a delight to be able to hear *every word*, so well done the sound techs.
As Bun said, it's always money well spent when we go to the theatre. This show's not cheap, but it really is a treat.
I don't think anything will quite live up to the production I saw at the National Theatre a few years ago, with Clarke Peters as Sky Masterson - he has such an easy, self-assured style that he remains the best Sky I have ever seen. Still, Ewan McGregor does a fine job, a wee bit stilted at first, I thought, but getting very nicely into it, and in fine voice. And it is no kind of problem to imagine a straight-laced miss falling for him, in his hat an' all. I do like a man who can wear a hat. His Sarah was Jenna Russell, who was excellent - particularly in the Havana scene; Douglas Hodge was a thoroughly lovable Nathan, and Jane Krakowski a super Adelaide, who made me sniff wistfully in the reprise of 'Adelaide's Lament'.
The high spots were the aforementioned Havana scene - really, really good fun, with some fabulous dancing and a Sarah getting progressively drunker and more limp-limbed all the time; and 'Sit Down You're Rocking the Boat', which was beautifully set and very rousing. It didn't attempt to compete with the National's version, at which Clive Rowe's astounding, enormous voice commanded four encores (and an audience that would have stood for more!) (I've never actually experienced that before - a number *actually* stopping the show. It was great!), but had a terrific reprise built in, and was energetic and funny and hugely enjoyable. Some of the other numbers were a bit disappointing: I was sorry that 'Guys and Dolls' was basically done by two guys on an empty stage, because if - no, WHEN - I get to direct it with my local group I shall fill the stage with people. I spose professionals don't have to worry about whether the chorus get stage time. Also, I did not like the Hot Box numbers. I always think of Adelaide as endearingly innocent despite her profession - and to see her feeling herself up, and topless in one number, didn't seem right to me. Also, the 'farm girls' stripping down to cut-offs and halter tops turned it from a period piece to a pop video, and I didn't like it. Oh, and I dare say it is a period touch to have people light foul-smelling cigarettes every five minutes, but I pity the unfortunates in the stalls - I could smell the vile smoke in the grand circle, and ew.
I had forgotten so many of the funny moments: a particular stand-out was Lieutenant Brannigan arriving as Nathan is talking to a line-up of all the gamblers in town, who at once pretend they are going to a, hmm, party. With the song 'Adelaide' it made a lovely comic scene. And, it was a delight to be able to hear *every word*, so well done the sound techs.
As Bun said, it's always money well spent when we go to the theatre. This show's not cheap, but it really is a treat.
