The Regals Musical Society: Guys and Dolls - Review by Daniel Conway

I have seen a lot of theatre in the last few years, and one thing I have learnt is that I have a shocking blind spot for classic shows. When I started getting into theatre, they weren't at the forefront of the zeitgeist. But every now and then one of them pops back into rotation and I get to fill in the blanks. All I had ever known about Guys and Dolls before making my way to Rockdale Town Hall to see the Regals' latest production were the songs Sit Down, You're Rockin' the Boat and Luck Be a Lady Tonight — the latter of which I really only knew through a Simpsons parody. So I was walking in blind.

Photos thanks to Dominic Meler.

The first thing you will notice is the band. Charles Wilkinson's musical direction and conducting were truly a highlight of the night. This was one of the tightest orchestras I have heard in a good long time, and the overall sound quality was superb, with the performers and the band in lockstep throughout. There were no awkward pauses for cues, no nervous glances — musically, it was a well-oiled machine. That said, seeing a production on opening night always comes with the caveat that sound mixing is an almost Sisyphean task, and at times the balance was not quite right, with the band overpowering the vocals in some of the solo numbers. No such issue existed when the full ensemble was utilised — in the whole-cast numbers the sound was immaculate and made me wish for more.

The ensemble continued to shine throughout the production, thanks in large part to choreographer Chris Bamford. I had heard his name spoken with considerable esteem in community theatre circles, and this was my first opportunity to see his work firsthand. Guys and Dolls demands a specific style — quintessentially Broadway — and Bamford delivered it without ever letting it tip into pastiche, which can be a real pitfall when drawing so deliberately on a period aesthetic. He and director Mel Hogan made particularly impressive use of the long instrumentals, staging small vignettes that gave the ensemble something to really sink their teeth into. The opening sequence captured the frenetic energy of 1950s New York beautifully, with the costuming underscoring the melting pot of high and low society mingling together. If I am honest, one pacing issue for me was the use of blackouts between scenes. Guys and Dolls is, like many classic shows, quite long in Act One while Act Two flies by, and some of those blackouts made it feel longer than it needed to be.

Photos thanks to Dominic Meler.

Narratively, the show revolves around two couples: Sarah Brown and Sky Masterson, played by Rebecca Carter and Rob Hale, and the comedic pairing of Nic Butler and John Hogan as Miss Adelaide and Nathan Detroit. Carter and Hale did a fine job with what might be the flimsiest love story I have ever encountered on stage. Hale brought charm and presence that helped sell the whirlwind romance, while Carter's magnificent voice and commanding stage presence made for genuine chemistry between the pair. The script gives these characters less to work with than they deserve, but both actors brought enough charisma and talent to make them endearing.

Where the script is thin for the first couple, it is an embarrassment of riches for the second. Nic Butler was my favourite performer on stage. She is so funny as Miss Adelaide — quick, warm, and intensely likable — with every punchline landing and every scene she inhabited crackling with life. My favourite number turned out to be the Act Two duet she shared with Carter, Marry the Man Today. Both women knocked it out of the park, and I found myself wishing they had more time together. Butler's other half on stage, John Hogan, brought clear commitment to a fast-paced and expressive characterisation of Nathan Detroit, creating a lively and engaging presence throughout.

Photos thanks to Dominic Meler.

Several cast members excelled in smaller roles, and one I cannot leave unmentioned is Philby McIntosh as Nicely-Nicely Johnson — delightful on stage, with a bold and entertaining presence that lingered well after the curtain came down.

Guys and Dolls is big, brassy, and filled with remarkable talent. I am so glad this Regals production was the one to tick this long-overdue item off my list.