Following their fabulous production of Footloose last year, the Theatre Arts of Dukinfield and Ashton (TADAA) step up to deliver one of the most iconic musicals in Broadway history.
Frank Loesser’s timeless musical fable, Guys and Dolls, bursts into life at Mossley’s George Lawton Hall, transporting audiences straight into the bustling, neon-lit streets of 1950s New York City.
Never a company to shy away from a bold theatrical idea, TADAA once again make imaginative use of the George Lawton Hall, leaving the traditional proscenium stage behind in favour of an in-the-round production that places the audience at the very heart of the action. The result is an immersive experience in which the songs, characters and high-energy action unfold all around.
Digitally creative display boards positioned all around the hall help keep scene changes to a minimum, seamlessly transporting the audience from the streets of New York to Havana and back, or from the Save-a-Soul Mission to the depths of the gamblers’ underground game in the sewers.
TADAA Chair Kathryn Malkin is full of praise for the production team, who have developed what she describes as “a brave new concept that brings something completely fresh to the show”. It is a gamble that pays off, bringing a renewed sense of energy and intimacy to this much-loved musical.
Choreographer Jean Johnson describes the production as “the most exciting and rewarding” of all the shows she has choreographed over five decades. It is easy to see why. A cast of almost 40 fills the hall with carefully choreographed street scenes and elaborate, energetic dance routines that make full use of the space and staging. The Crapshooter’s Dance was a personal favourite. But the time, effort and care to create these intricate routines is clear for all to see and enjoy.
Although an amateur show, at the heart of the production is a hugely talented cast, including several performers with professional stage experience.
For those unfamiliar with the tale, Guys and Dolls weaves together two contrasting love stories against the colourful backdrop of Broadway’s criminal underworld. At its heart is the long-suffering romance between down-on-his-luck gambler Nathan Detroit and nightclub singer Miss Adelaide, whose 14-year engagement shows little sign of reaching the altar. Meanwhile, high-rolling gambler Sky Masterson finds himself challenged to win the affections of straight-laced missionary Sarah Brown. Desperate to raise the $1,000 needed to stage his next illegal crap game, Nathan bets Sky that he cannot persuade Sarah to accompany him to Havana.
With gangsters, gambling, romance, a memorable score plus a healthy dose of comic chaos thrown in, it is a winning combination that has captivated audiences for generations.
Director Gary Jones, a long-standing performer with Ashton Operatic, takes on the role of Nathan Detroit, delivering a charming performance full of wit and humour. A Liverpool Theatre School graduate, Gary has also toured with tribute group The Jerseys and, last year, had the opportunity to play Javert in one of the UK’s amateur premiere productions of Les Misérables at the Liverpool Empire.
As Nathan’s long-suffering fiancée Miss Adelaide, Leonie Picariello is a delight. Her character has spent 14 years waiting for Nathan to finally lead her down the aisle, and Leonie brings both humour and heartfelt emotion to the role. A trained performer from London’s Mountview Academy of Theatre Arts, she commands the stage with confidence and showcases her impressive vocal abilities in a role that gives her plenty of opportunity to shine.
The second of our leading ladies, missionary Sarah Brown, is played by Victoria Lewis, whose natural and understated approach provides a beautifully contrasting presence. Another performer accustomed to the professional stage, Victoria brings warmth and sincerity to Sarah, creating a compelling counterpoint to the glamour and mischief of Adelaide’s world.
Completing the central quartet is Sky Masterson, played by John Harrison. Trained in musical theatre at ArtsEd London and no stranger to the West End stage himself, John brings professional experience to the role of the charismatic gambler whose confidence and devil-may-care attitude are challenged when he meets his (love) match in Sarah.
Adding to the production’s comic sparkle are Tameside Radio’s very own Cameron Kennedy, who as Nicely-Nicely Johnson teams with Benny Southstreet (Adam Cornett) to portray Nathan’s loyal, fast-talking sidekicks, who provide plenty of laughs and bring infectious, quick-witted energy to the scenes.
Harry Garrity makes a wonderfully entertaining impression as Big Jule, the imposing gangster with a “little guy in a big suit” look and a fabulous Chicago accent. His comedic portrayal adds another layer of humour to the colourful cast of characters.
A gentler touch comes from Andy Gibson as Sarah’s grandfather, whose warmth, wisdom and tenderness provide a welcome change of pace. His heartfelt delivery of the beautiful ballad More I Cannot Wish You offers a particularly touching moment amid the surrounding high-energy action. Sarah’s reaction is a tear-jerking moment - so have those tissues ready!
The principal gamblers are equally well served, with the talented and versatile Ian Chatterton as Harry the Horse and Matthew Edginton as Rusty Charlie bringing assured performances to the ensemble. Andrew Cochrane provides a suitably straight-laced counterpoint as Lieutenant Brannigan, the tough New York police officer tasked with keeping the city’s colourful rogues in check. Watch out too for Tameside Radio's Richard Parker!
But everyone plays their part with equal commitment and all the cast can be proud of the high energy and highly polished production that they create, which is a joy to behold.
Costumes further enhance the production, grounding the action in the distinctive style of 1950s America while transforming the stage into a vibrant, colourful Havana. The visual flair complements the ambitious staging, creating a convincing sense of place as the story moves between its very different worlds, all captured by the actors with their rich, American accents.
With its ambitious staging, vibrant choreography and a cast brimming with talent, TADAA’s Guys and Dolls is a production that takes a Broadway classic and gives it a fresh, immersive twist.
But don’t take my word for it, you can find out for yourselves.
TADAA’s Guys and Dolls runs until Saturday, showing nightly at 7.30pm, with an additional Saturday matinee at 2.30pm. You can book tickets online or for more details visit the Theatre Arts of Dukinfield and Ashton Facebook page.
