Guys and Dolls

Great Hall, Oxford Brookes

That Guys and Dolls is just as popular today as when it was written in 1950 is a tribute to Frank Loesser's talent as both a writer and composer. He creates a set of funny, likeable characters, and then keeps his audience captivated with one catchy, tuneful song after another. It is also a tribute to the enduring relevance of the show's themes: while set in the gambling dens and cabaret clubs of 50s New York, its recurring motifs of the difficulties faced by lovers in modern society, and, more importantly, of the ease with which women manipulate their doting men, strike just as strong a chord with audiences of the 21st century.

But most importantly, Guys and Dolls is popular because it is a lot of fun, and the talented Fortune Players revel in the potential for light-hearted merriment in what is a very impressive production. Indeed, while much of the stagecraft is extremely accomplished, perhaps the most compelling aspect of the performance is the obvious and infectious enjoyment of the cast. A few nerves were apparent, perhaps symptomatic of an opening night, but they were uncalled for - director Esme Clark has produced a slick, impeccably rehearsed show. Particularly strong is the choreography: Nina Peterson and Ben Yates can be forgiven for culling some of it from the film, since they have produced some visually exciting and perfectly executed routines.

There are also some fine individual performances: Caeron Woodhouse gives a powerfully sung, characterful rendition of Adelaide; Natanya Hedges (Sgt. Sarah Brown), Toby Carson (Sky Masterson) and Craig Prosser (Arvide Abernathy) also have fine voices. But possibly the star of the show is the energetic and amusing Ben Yates as Nicely Nicely Johnson, whose exciting performance of "Sit Down, You're Rocking the Boat", backed by some fine chorus work and lighting effects, was a true "showstopper", and really should have been encored.

The performance relies heavily on microphones, and the sound system could do with attention: quite why the already large orchestra is amplified is a mystery. The show also deserves a better venue than the square, bleakly-lit great hall at Oxford Brookes, although skilful staging and the enthusiasm of the cast ensure one is soon lost in the bustling world of Broadway. And most importantly, it deserves better publicity. It will be a shame if this company's considerable achievement remains the best kept secret in Oxford.

Matthew Rogers, 15.03.00