5 July 2023 I 19:30 I Bridge Theatre, London
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Immersive theatre is on the rise through recent years, and Nicholas Hytner's production of Guys & Dolls takes an entirely innovative concept in London's Bridge Theatre. The staging can be described as in-the-round, though immersive ticket holders (myself included) are invited into the pit, where platforms of stage rise and fall to suitably reflect shifts in pace, action, location and musicality. Originally performed in 1950, this adaptation is refreshed with modern attitude and extremely sharp attention to the small details within every song. Everyone's experience is unique here!
Initially, I had been nervous about the immersive thematic, as I feel claustrophobic in crowds. However, the environment created is immediately very safe and alluring, enhancing Paul Arditti's sound design and Lily Mollgaard's prop supervision to simulate a mid 20th century American pre-show atmosphere. Vendors add to the bustle of New York, as food, beverages and more are available to purchase from select stands. The trilby hat is a must-have to wear throughout the show for that extra New York style! These sellers later transform into police persons, who become usher-like for standing ticket holders. We are guided across the floor, both for our safety and to get the best views of the alternating stages. The ensemble weave around audiences, even holding conversations and quips towards us as they make entrances and exits, the life of the show spans beyond the scripting! This heightens the immersive experience as we embody the crowds of New York, and there is no separation between audiences and the action. It can be felt that these interactions would distract from the show, but when I came to realise these moments are still the show, I couldn't help but fall in love with the inclusion even more.
The story of Guys & Dolls is easy to understand, with slick comedic timing to confirm itself as a joyous evening, placing enjoyment above everything else. The relationship between Sky (Andrew Richardson) and Sarah (Celinde Schoenmaker), a gambler and a missionary, is delightfully present, the young couple a highlight of blossoming romance. Richardson is charming in his portrayal, with a childish cheekiness to win audiences over. I find myself spellbound by Schoenmaker's vocals, with her versatility between stern and wild drunkenness turns into a comedic rollercoaster, real belly laughs! And although their love is ignited through a bet, the essence of true love conquers.
This can, to some extent, be seen through Nathan and Adelaide's 14 year engagement, performed by Daniel Mays and Lydia Bannister respectively. This squabbling, yet to marry couple prove to be scarily relatable for audiences. Mays is thoroughly entertaining, as Nathan hides his floating crap game in a frenzy from his partner and authorities alike. His attention to character is divine both on and off the stage, definitely the strongest connection to us with a unique method of audience interaction. And Bannister's Miss Adelaide is glorious, sensual and hilarious and she flickers between her feisty Hotbox performances and frustrations at Nathan, her facial expression and comedic timing allows us to adore her!
Audiences are transported to a variety of North American locations, which are visually communicated with a stellar design from Bunny Christie. With neon signs flown in, a sense of location is consistently communicated. Large sets aren't possible due to the intimacy of the venue, however expertly envisioned to curate fleeting spaces. I would never have been expected to be taken to a Havana club, such viscerality where all the senses are engaged in the atmosphere of a nightclub, while still maintaining the theatrics.
Interval entertainment is a spectacular addition to the most fascinating of musicals! Providing you are able to, stay during the interval to get the full experience! You might be luckily enough, as thankfully I have been, to get onstage seating for Take Back Your Mink, truly invited into Adelaide's Hotbox on a whole new level. To be invited onto a moving stage, for a powerhouse show, in the centre of London, really makes dreams come true for me, and equally many more audience members alike no doubt!
I have always adored Arlene Phillips' choreography, and alongside James Cousins, Guys & Dolls is no exception to this! Boasting a large cast and considering the small stages, every dance number really shines this beautiful craft. I entirely fall in love, notably with ensemble choreography, where you cannot take your eyes off how precise every movement is. The perfect example is the entrancing Sit Down You're Rockin' The Boat, led by the incomparable Cedric Neal, heavenly vocals and such a suave manner. Sit Down... has to be my favourite theatrical experience to date. The applause could've taken the roof off, and I adore how standing audiences are invited to dance along, though again still being true to theatre. The spirit and happiness is unrivalled to any other show I've seen, in the way we, as spectators, are allowed to express and share the cast's euphoria. The night culminates with a dance circle in the pit of the auditorium, which is able to be filmed. Alike Sit Down..., you are allowed to experience the show with the actors and even dance onstage! Find yourself another show where you can do that!!!
This production showcases the orchestra, (conducted by Tom Brady) and the backstage crew excellently, so that we can really value the whole team! I find it impossible to fault Hytner's Guys & Dolls, and I have an unbelievable amount of thoughts on this, even writing a few days later. When it comes to competition in the theatre scene, all bets are off! This is the future of theatre!
* Extra shoutout to Lyn Haill and Clare Nicholson for a wonderfully detailed and beautiful programme!
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