“More I Cannot Wish You” than a Beautiful Evening at the Theatre

A review of SRO Productions III’s production of Guys & Dolls

Have you witnessed a play that you enjoyed so much that it spurns you to write down as many details as you can recall? Well, hello, my name is Claire, perhaps we should chat. That’s the whole purpose of telling stories, I think. Dialogue & discourse. In my brief time on this earth, I have seen an absurd number of productions. I think about theatre constantly and I need an outlet to attempt to make sense of all of these thoughts. Welcome. Grab a treat, scroll away as you please. 

Perhaps you, noble patron of the arts, feel exhausted (as do I) by the same canon of golden age musicals. Similar to the works of Shakespeare, there are some things in the (often superfluous) plots of these musicals that can leave a real sour taste in the mouths of modern theatregoers. Well— fret not, as the final weekend (November 14th—16th) of Guys & Dolls produced by SRO Productions III is still ahead of us, chock full of charm, madcap antics, and vocals that evoke audible excitement. 

The subject of our review; Guys & Dolls was adapted from short stories written by Damon Runyon in the 1930s and first brought to Broadway in 1950. The score, written by Frank Loesser has no shortage of hummable standards such as “Luck Be a Lady,” “A Bushel and a Peck,” and, of course, the title track “Guys and Dolls.” The book, written by Jo Swerling and Abe Burrows, holds up considerably well, with humor that trusts the audience's intellect and a plot ultimately culminating in themes of accountability and living an honest life. 

While some may posit that the plot of Guys & Dolls is purely “fluff,” there is an undeniable undercurrent of tension. This is spurred on by the idea that a man must keep true to his word driving this piece into the land of “high stakes” where audiences gasp, groan, and sit on the edge of their seats. Though it may have a reputation for being another plotless musical theatre classic, there is a beating heart in the chest of Guys & Dolls keeping it at the forefront of the musical theatre canon. 

As is a challenge for any production, the casting process for a well-known musical is no easy feat. Scott Fischer excels with presenting this group of performers in what I would declare (dare I say it? I do indeed) a perfectly cast musical. Each performer on the stage of the Firehouse does absolutely delightful work from the Mission Band's Franklin Krongolo and Haley Cardin, to Nick Merrell's hilarious waiter-Personas. I have to make mention of the “Hot Box Girls” (played by the dazzling Amanda Blake, Hannah Gdovin, Erin Goodman, & Mikayla Wright), shining especially in “Take Back Your Mink.” Through precise, character driven choreography these performers serve showgirl sass on a silver platter, I only wish we saw more of them! There seems to be endless fodder for a spinoff featuring the backstage antics of these dancers. I digress, everyone onstage brings their A Game, with each contributing uniquely to a remarkable cast in which each member elevates the story. 

Zach Curtis' Nathan Detroit bumbles through trying to keep everyone in his life satisfied despite his shortcoming to the immense amusement of the audience. One particular moment of interaction with Big Jule (phenomenally brought to life by Rick Barton) had me cackling and keeling over in my seat. Curtis captivates in this role, leaving the audience eager for his return from scene to scene. As the play commences, we watch Curtis' Nathan attempt to problem solve like a dangling lobster above the boiling pot of needing to be everyone's “man with a plan,” which Curtis navigates with expert instincts for comedy and heart.

Nathan Detroit is nothing without the ever-looming ambition of his fiance Adelaide, brought to life radiantly by Megan Longo. Longo thrives with the renowned cartoonish aspects of Adelaide, with her bubbly voice and mesmerizing showgirl antics. Her  portrayal (along with Curtis' Nathan) make for a comedic duo with a velvet heart, reminiscent of the old sitcom duos such as Lucy and Ricky Ricardo. It cannot go unsaid that Longo additionally presents Adelaide's tenacity and inner turmoil delightfully in the reprise of "Adelaide's Lament" featuring her powerhouse vocals that personally left me with my mouth agape in awe. 

This can be said of several moments throughout this production. The vocal talent and creative use of character was unmatched, with applause to Hilary Rozek’s music direction. The bright, perfectly interlaced harmonies of  Eric Bill & Matt Gaska resulted in nods of approval from the audience members surrounding me. Not only do the solo performances entice, (I can attest, Gaska’s broad range throughout the 11 o’clock number  “Sit Down You’re Rockin’ the Boat” can raise one’s arm hairs) but each duet is sure to engage & enthrall. 

One particularly enthralling moment, occurs between the other couple, Sarah Brown (played by Sarah Wallikas) and Sky Masterson (played by Sam Katzman) sing the beautifully written, Act I closer titled “I’ve Never Been in Love Before” induced a feeling of wistful mistiness within me. The number occurs after a whirlwind Havana dance number about jealousy, love, and indulgence – deliciously performed to the raucous encouragement of the audience by Mikayla Wright and Bryan Field. Throughout the first act, we observe Sarah and Sky relinquish and attempt to regain control of their feelings for one another, as well as their sense of identity. In Havana, Sarah lets loose (with exciting vigor on Wallikas’ part as she deliberately chooses to indulge in the moment). We see the arc of how Sarah learns to follow her own agenda, rather than the binary options presented towards her. We also see change in Katzman’s Sky, as he begins to become more cautious of his past behavior and manipulative tactics used to maintain his place in a world of deceptive bets and “markers.”

This culminates in the beautifully written, Act I closer titled “I’ve Never Been in Love Before,” which induced a feeling of wistful mistiness within me. A crowd that was once boisterous, softened to listen in on each word sung. Katzman’s debonair crooning combined with Wallika's lilting soft vibrato make for a vocal symphony, ironic given the opt for background tracks rather than live musicians. But I’ll forgive the omission… just this once, as the production was so wonderful I can’t stop going on about it. The entire Havana Sequence could isolate itself as a standalone course in musical theatre storytelling. And just as the curtain calls, you sit, stunned, presented with the epiphany that Guys & Dolls may know the musical theatre game more than you anticipated. 

The depictions of both the A plot & B plot couples (I can’t decide which is which, choose your own adventure) portray lessons about modern love. Each couple struggles to discern whether the aspects they love about their partner exist within the reality of how they have been treated or a fantasy realm of expectations for who our partner "could" be. Though the title “Guys & Dolls” may be simplistic, and perhaps a bit minimizing, it is accurate. Heterosexuality throughout history has often represented “ideals” rather than realities, it is when these characters reveal the facade that they are able to decide if it's love. I think in the end, this story does. I don’t think that’s a spoiler– hey– the piece is 75 years old. 

Ultimately, there is so much to love about this production, but why take my word for it! With a cast brimming with local talent, audiences can fully indulge in the delicious performances that the Binghamton area has to offer, and this one is no exception. Anyways, I digress, let’s talk about theatres and their audiences. Let’s disagree and discuss. I love theatre. Go see SRO Productions III’s production of Guys & Dolls. It was great.