I wasn’t planning to review GUYS AND DOLLS; I wasn’t even sure I would see it. I’ve had a busy summer, and honestly, while I’ve never seen a production of the show, it just seemed so . . . I don’t know . . . not my taste. But I ran into Tyler Gabbard, the man in charge of theatre at The Carnegie at another show this week, as well as CCM’s Vince DeGeorge, and while the three of us were talking, Vince mentioned he was seeing the show on Saturday night. I checked my calendar - and I was also free. So, I got online and purchased a ticket. Then, my friend Anne, who originally had other plans, called me mid-afternoon and said she could go, too, so I bought another ticket - but not next to mine. (Box Office Manager Brenda Berger, perhaps the best in the business, was able to move us next to one another . . . and that seat just happened to be next to Vince DeGeorge.
So, I suppose it was a lucky night at the theatre. (Get it? “Luck be a Lady” . . . oh, nevermind.)
And while I’m still not sold on the show itself, this production is chock full of fantastic talent, and I’m delighted I went.
Here are a few highlights:
Steve Goers’ musical direction brings the classic score to the forefront, and the vocalists - especially those tight harmonies - really shine. Erin Donnelly’s costumes are gorgeous, and Candace Leyland’s wigs were realistic and in keeping with the show's tone. Alaina Pizzoferrato’s lighting design is proficient and leaves the focus on the story and action on stage.
Also, the sound execution was flawless! I could hear every note, there were no missed cues, and while the volume might have been a little much, I suspect the older audience members appreciated being able to follow the dialogue.
The cast is outstanding, from the lead and featured performers to the ensemble members. Standouts include Aaron Marshall, who delivers a show-stopping rendition of “Sit Down, You’re Rocking the Boat,” and Tomi Newman, whose comic timing is impeccable. Eliza Levy’s dancing is other-worldly, Julia Schick continues to prove that she can literally do everything well, and Monique Churchill brings bright energy and stage presence to every moment. Spencer Stanley’s “Big Jule” is refreshingly well-grounded, and Dain Page brings a seasoned sincerity to his characterization of Abernathy.
While the entire ensemble (including Maddie Osment, Matthew Danforth, Caroline Bowman, Ethan Kuchta, Andres Martinez, Anderson Rothwell, and Montez O. Jenkins Copeland) gels together to support the production, the four leading characters are sensational. Christopher Wells brings a maturity to “Nathan Detroit,” while Annalese Fusaro’s portrayal of his long-suffering fiance, “Adelaide,” is charming beyond words. In what could have been a caricature-like performance, she found honest moments and endeared herself throughout both Acts.
Jackson Reagin, who continues to grow every time I see him on stage, is charismatic but restrained in his portrayal of “Sky Masterson,” and the entire audience is rooting for him as he pursues the unbelievably talented Gracie Parker as “Sarah.” Not only does she sing like an angel, but her nuanced acting choices are those typical of someone with many more years of experience. She’s a superstar in the making.
Eric Byrd’s choreography was fun, though with a mixture of professional-level dancing and some “keystone cops inspired” bits. His direction, especially in Act Two, gave room for some well-timed comedy. Despite the lengthy run-time and some small pacing issues, it’s a production to be proud of - and definitely one fans of the show, soundtrack, or characters will rave about for a long time.
GUYS AND DOLLS runs through next Friday, August 18th at The Carnegie in Covington, KY. Tickets and more information can be found here.