The London Theatre Review: Bridge Theatre’s Guys & Dolls

By Ross

I feel a bit silly to admit this, but I’ve been recommending the immersive Guys & Dolls production at the Bridge Theatre in London ever since it first opened in March 2023, way before I even had a ticket for the show. This revival, made magnificent by director Nicholas Hytner (NT’s One Man, Two Guvnors) and set designer Bunny Christie (West End’s Best of Enemies), changes up that crap game to the highest level, delivering something that is truly beyond anything you could imagine for this classic musical. It’s the farthest thing from its standard rendering, bringing mountains of energy and excitement to a show that is already filled to the rim with gems and laughs. And now that I’ve been lucky enough to see it for myself, I must say, my recommendation was spot on perfect.

Guys & Dolls is that classic musical that keeps coming back for more, much like one of the central pieces that make it all work, namely Nathan Detroit, played to sweet perfection by Owain Arthur (NT/West End’s The History Boys) and his love for the delicious Miss Adelaide, played by the powerhouse in every direction, Marisha Wallace (West End’s Dreamgirls). Their returning loving attention to each other, even with the flaws of Detroit so clearly outlined, represents everything that we love about this show. And then some, as Wallace finds so much depth in a part usually just played for its squeaky pleasure.

It’s hilariously well written, both in Frank Loesser’s spectacular music and lyrics and in the clever book by Jo Swerling and Abe Burrows. Now, thanks to the Bridge Theatre on the South Bank of London, the show is magnificently revitalized. They have elevated the piece and the energy to almost a fever dance party pitch, without losing a bit of its cute charm and ingenious dialogue. The last time I saw this show was the 1992 Broadway revival (although I think I saw it later in 1994), which starred Nathan Lane, Faith Prince, Peter Gallagher, and Josie de Guzman, giving it their all and finding success in their dice roll. But as envisioned by set designer Christie, who also did the stunningly vibrant costume designs with Deborah Andrews (West End’s The Birthday Party), this revival is unmatched and unparalleled. The crowds are released into the open space of the main floor, left to wander about the set before the show, as we made our way to the first-floor ringside seats we had procured. There was no way we were standing for this 2-hour and 50-minute extravaganza, especially after the daily walking miles we usually put in during our theatre trips to London.

Knowing our limits (rightly), we sat, perched above the mosh pit searched for clues about how and what we were about to witness. We noticed some lines drawn in the theatrical sands, and sure enough, as the police persons started to shuffle the audience members around, much like the Broadway production of Here Lies Love, politely ushering them into outlined spaces (that forever change, much to my surprise), the neon signs and parts of the floor start to rise up, creating an ever-changing landscape for this staggeringly good production of Guys & Dolls to unleash its excellence onto us. And it just continued to rise and rise, up to the Broadway heavens.

It’s a flawless take on this traditional musical, rolling out and lifting up endless arenas for these players to run around in, singing and dancing to their hearts’ content. And beyond, thanks to the meticulously sharp choreography by the legendary Arlene Phillips (RSC’s A Clockwork Orange) with a brilliant assist by James Cousins (Bridge’s A Midsummer Night’s Dream). The floorboards of this theatrical space are forever shifting, up and down, to create levels of engagement that never stop eliciting applause. And these dancers took it all on as the biggest challenge of the night and did not fail or falter for an instant.

The musical itself, as perfectly structured as one could be, follows alongside a band of New York City hustlers at the height of Prohibition, looking for a safe place to hold a game of craps, while love gets played out in the background; one because of a bet laid, and the other, was there waiting all along. Each and every one of those characters is played to perfection, starting with Arthur’s artful portrayal of Detroit, and including a miraculously brilliant turn on Nicely-Nicely Johnson by the spectacular Simon Anthony (Barbican’s Anything Goes), the understudy for Cedric Neal (West End’s Chess) who typically plays the part. His “Sit Down, You’re Rocking the Boat” is a never-ending experience that has you standing up in your seats to show him your undying appreciation. It was a barnstorming of the highest degree, keeping you thrilled and excited with every rotation.

With Arther’s Nathan and Wallace’s breathtakingly great Adelaide leading the laugh and hit parade so perfectly, it’s hard to imagine anything coming up close behind them. But with the absolutely dreamy Andrew Richardson (Carnegie Mellon’s Medea) giving his sexy Sky Masterton a little bit of the crooning Harry Connick, Jr mixed in with the sexy appeal of Bobby Cannavale, matched perfectly with the delightfully challenged missionary Sergeant Sarah Brown, played beautifully by the talented Celinde Schoenmaker (Royal Festival Hall’s The Light in the Piazza), those risers going up and down forever feels balanced and complete. The four find a flavor that resonates, somewhere in between the creaminess of cheesecake and the deliciousness of strudel, with no clear or obvious winner.

This immersive experience brings the floor crowd within inches of the action, feeling as intimate up in our seating arena as it must have been down there for the likes of those who were wanting to stand and be shuffled around. And I must admit, that I felt blessed, not just because I got to see this stunningly great production but because we were blessed with the always perfect view from just one flight up. And what a great vantage point it is to take in this immaculately well-written musical from start to finish, with pitch-perfect delivery of those magnificently well-crafted one-lines and songs sung by a crew of fantastic characters brought to life by a cast of amazing pros.

Everyone involved is all-around excellent, with the musical numbers, already perfectly orchestrated by Charlie Rosen (Broadway’s Some Like It Hot), filling the ever-changing space spectacularly thanks to the ingenious musical supervision and arrangements by Tom Brady (NT’s Pinocchio). The dance numbers, even when flying flirtatiously into gay club fantasy, elevate the staging even higher than the floors can go. Making it no surprise when Guys & Dolls finishes up as a big dance party, led by a cast still ready to rage on. It’s the delicious ending to a delightfully joyous slice of classic musical heaven. One that I’m so thrilled to have finally witnessed.