SOS Presents 
MAST Mayflower Studios, Southampton 
Mark Ponsford 
10 July 2024
It’s something of a titular irony that even after a major recruitment drive, S.O.S’s production of this Golden Age musical is notably light on Guys and heavy on Dolls, to the extent that a substantial amount of cross-dressing has been introduced, along with several character names I’ve certainly never encountered in any previous productions of the show. It’s cleverly accomplished, and you do get used to it, but with no disrespect to anyone, there’s still the odd occasion where it remains, inevitably, something of a distraction… albeit nowhere near as much as the incongruous plastic stackable chairs which fill the stage during a crucial second act scene.
These aside (although S.O.S. might also want to have a word with whoever supplied the wigs), this is a hugely enjoyable, fast-paced evening, with Sophie Barnard’s slick direction and excellent choreography (this truly is an all-singing, all-dancing company), and a terrific band, the latter under the leadership of M.D. Amy Wardle, who does Frank Loesser’s glorious score proud. There’s also a lovely elegant setting (which impresses even before the show begins) enhanced by dazzling neon and subtle moving projections, some glorious lighting and costuming, and an occasional nod to the production of the show currently playing at London’s Bridge Theatre.
Guys And Dolls is a musical synonymous with happiness and uplift, underlined in part by the fact that every one of its characters, both principal and supporting (even George Laidlaw’s initially ominous Big Jule), is/are basically very endearing, and it’s all the better for the show (and for us) that a most endearing company has been assembled to bring the show to life. The leads are producing terrific work – Rebecca Woodhead’s Miss Sarah projects a warm assurance, in addition to singing like an angel and finding some priceless comic moments. (No spoilers, but watch what happens when she gets to Havana!) As Sky Masterson, Kenny Adegbola (another name it’s always good to see in a cast list) manages to be both smooth and charming, and it’s no surprise that he delivers his numbers beautifully. I found myself wishing that the lovely duet ‘I’ve Never Been In Love Before’ had been staged with just Sky and Sarah onstage – the addition of an ensemble dance took away some of the focus from this crucial intimate scene, while the same might be said of the title song, delightfully delivered by Ollie Woods and Samuel Davis. Ollie Woods also leads a terrific ‘Sit Down, You’re Rocking The Boat’ in act two, in which the ensemble deliver a great backup, in an excellent staging which even put me in mind of the National Theatre’s treatment of the number in their own legendary production of the show. Praise indeed.
Marie Leland gives us a somewhat more knowing Miss Adelaide than usual, and rattles off the fiendish patter of the song ‘Sue Me’ with pinpoint precision, along with the occasional whinnying laugh reminiscent of Gertie Cummings in any production of Oklahoma! Her Nathan Detroit is played by Neil Maddock, who manages to be endearing, loving, panicky and exasperated, occasionally all at once. It’s a difficult feat to pull off, and he does it superbly.
Among the many (and I lost count of just how many) highlights of the production are, in addition to those mentioned, the opening ‘Runyonland’ staging, and the superbly delivered Adelaide/Sarah duet ‘Marry The Man Today’. I mentioned earlier the uplifting effect of Guys And Dolls, and one needs no further proof of this than the level of delight with which the opening night audience greeted the production. To anyone encountering the show for the first time: Be prepared to be captivated by its beautiful construction (there’s far more to the general plotline than might initially appear), the countless laugh lines (the show’s Book, by Jo Swerling and Abe Burrows stands as sturdily as ever it did), a truly classic Broadway score, and a company giving it everything they’ve got. Whoops, cheers and standees at the end must surely stand as proof enough, as the audience showed their appreciation – and perhaps more than a little love – to this much-loved local Society in their Centenary year. The show runs until Saturday, and it’s a celebration worth sharing.
(Photography, Peter Nicholson)
