Photos by Gillian Gordon
“Guys and Dolls.” Book by Abe Burrows and Jo Swerling. Music and Lyrics by Frank Loesser. Directed/Choreographed by Ceit Zweil. Musical Direction by Dan Rodriguez. Presented by Greater Boston Stage Company, 395 Main Street, Stoneham, through June 30.
By Shelley A. Sackett
When it comes to bubbly, breezy, musical fare, Greater Boston Stage Company is as reliable as it gets and “Guys and Dolls,” in production through June 30, is further proof.
Even before the show starts, a usually boilerplate announcement is anything but. “Turn off your phone. It’s a small theater. Everyone will know it’s you,” a vintage radio announcer-type warns.
Hailed as the perfect musical romantic comedy, this award-winning classic is set in 1920s “Runyonland,” a mythical New York City. Based on Damon Runyon’s short stories, the two-and-one-half-hour play (one intermission) is a potpourri of slapstick, glamorous cabaret showgirls, gamblers, gangsters, and Salvation Army missionaries.
There’s even a quick trip to pre-revolutionary decadent Havana.
Twenty-four musical numbers, backed by a seven-piece orchestra, are the glue that connects the dots and provides both a vehicle to showcase the cast’s formidable talent and a layer of joyful merriment.
The story is fairly straightforward.
Gambler Nathan Detroit needs to find financing to set up the biggest craps game in town. He faces more than a few obstacles. First of all, the authorities are breathing down his neck, Lt. Brannigan of the local police force watching his every move. Second, the only place he can find to hold the game requires $1,000 security deposit. Third, Nathan is broke. And fourth (but hardly last), Adelaide, a nightclub performer and his fiancée of 14 years, has made him promise to give up running craps games. When she finds out he’s still at it, she kicks him out.
Undaunted, Nathan contrives a way to get the money by making a bet with fellow gambler Sky Masterson, known for deep pockets and an inability to resist any wager that crosses his path.
This one? That Sky can’t get Sarah Brown, one of the straight-laced missionaries, to have lunch with him in Havana.
The rest of the play revolves around con men conning and being conned, unrequited love being requited, and an unlikely group of missionaries who yield more influence than they could have prayed for. The plot twists and turns are cute, light, and hilarious — perfect summer fare.
All this is told through top-tapping familiar songs (“Luck Be A Lady,” “A Bushel and a Peck,” and “Guys and Dolls” among them) and exuberant choreography performed with the caliber of singing and acting we have come to expect from GBSC.
And —best of all!!! — the orchestra complements the actors rather than drowning them out. Kudos to Sound Designer John Stone and his engineers for ensuring that the audience can hear – and understand – the lyrics.
Jon Savage’s set makes efficient use of a compact stage. He has built a neon shadow box to house the orchestra, bringing them into the mix in an organic way. Unobtrusive props change the scene from mission meeting to street corner to cabaret to Havana club. Ceit Zweil’s direction and choreography keep the action flowing and interesting.
The play’s opening number (“Runyonland”) is upbeat and happy, setting the tone for what is to follow. “Fugue for Tinhorn,” about betting on the races, follows, introducing us to three loveable gamblers: Nicely-Nicely (Stephen Markarian), Benny Southstreet, and Rusty Charlie. Markarian is a standout, bringing warmth, physicality, and self-deprecating humor (and a great voice) to Nicely-Nicely.
Sara Coombs as Adelaide is an adorable knockout. Everything about her performance is impeccable, from her exaggerated facial expressions to her dancing to her fabulous voice. Plus, she has a terrific sense of timing and a comedic flair that is a true pleasure to behold.
Jared Troilo imbues Sky Masterson with sensitivity beneath his worldly criminal carapace. His dancing and singing are superb, and his duets with Sarah are among the show’s highlights.
Of which there are many. There are double entendres and double-crossers.
There are the corny, Henny Youngman-esque laugh-out-loud jokes (“I kinda like it when you forget to give me presents. It makes me feel like we’re married,” Adelaide tells Nathan). There are even a barbershop quartet, an a capella number, and an operatic aria (Lisa Kate Joyce has a voice that could shatter glass).
Most of all, there is a light, entertaining story that surprises us with a serious takeaway. As Nicely-Nicely succinctly puts it, “Life is one big crap game, and the Devil is using loaded dice.”For more information and to buy tickets, visit https://www.greaterbostonstage.org/
