Natalie Hope and Stephane Anelli in Guys and Dolls at The Mill at Sonning. Picture: Andreas Lambis
Guys and Dolls continues at The Mill at Sonning until 23 February 2019.
Star rating: five stars ★ ★ ★ ★ ★
The lyrics of ‘Luck Be a Lady’ may relate Sky Masterson’s hopes that he will win a bet and save his relationship with the girl of his dreams but it’s not just luck that sees the success of this production of Guys and Dolls at The Mill at Sonning. It’s sheer determination, hard work and an astute methodology to go large where it matters.
A stellar cast, reduced but without compromise to fit on the Mill’s bijou stage, packs a punch worthy of a larger-scale production. The two leading ladies are fiery, making a huge impact and complementing each other beautifully in their resolution to ‘Marry the Man Today’.
Natalie Hope is exceptional as Miss Adelaide, strong yet “cutesy” and vulnerable with vocals that fill the Mill’s small auditorium and Victoria Serra is rigidly strait-laced as Sarah Brown whose wild alcoholic abandon when Sky takes her to Cuba is a pure delight.
Similarly the two leading men are skilfully cast, presumably thanks to the critical eye of casting director Kay Magson. Both representing the unsavoury fraternity of New York’s gambling underworld, Stephane Anelli ensures that his Nathan Detroit is a wiry, squirming wheeler-dealer who dips in and out of the shadows. Trying to fit in with Miss Adelaide’s romantic notion of a devoted fiancé he counter-balances his softer side with a desperation to find a covert venue for his next illegal crap game.
Richard Carson, on the other hand, is a more refined rogue as Sky Masterson, sure of his stature within the gambling community, confident and boldly taking on his peers and determined to uphold his credibility.
Oliver Jacobson has a jolly countenance as the archetypal Nicely Nicely working smoothly with Felipe Bejarano as Benny in this unofficial double act and Daniel Fletcher is brusque Big Jule. Rebecca Bernice Amissah is authoritative as General Cartwright.
All of the cast members have powerful solo moments but find no problem in dissolving effortlessly into the ensemble numbers.
As both director and choreographer, Joseph Pitcher, creates a real verve in the collective numbers. ‘Sit Down, You’re Rockin’ the Boat’ is choreographed with sharp precision and the heady heat of ‘Havana’ is brought completely to life with a vivid, power-packed routine that transports the audience to the sexually-charged intensity of a Cuban nightclub.
Add to these perceptive choices of cast and director, Diego Pitarch as set designer and the Mill has a winning team. Pitarch is used to designing for small spaces and puts his limitless skills to excellence use in in creating a functioning backdrop that succeeds in re-creating the seedier side of New York society while reminding us that these “sinners” are never more than a few steps away from salvation.
The production was indeed worthy of the audience’s standing ovation, a sight rarely seen in these parts of theatre-going surburbia and justifiably warrants a five-star rating.
Julie Watterston
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