Review: Guys & Dolls, at the Bridge Theatre, London

This is honestly one of the biggest shows of the year - and my 2nd time trying to see it. But NO train strikes to ruin it for me this time! Thank the Lord, THANK THE LOOOOORD! (see what I did there) 

I have finally been able to see the Bridge Theatre's much anticipated, and highly acclaimed on all fronts, production of the classic Guys & Dolls. 

It's also my very first visit to the Bridge Theatre itself, a theatre I have wanted to see for a long time. 

(Anyone who caught their A Midsummer Night's Dream, be that in person or the cinema, would agree.) 

The Bridge is technically a theatre in the round, only the stage is a pit, which in there are raised platforms that go up and down continuously depending on the scene; and that a standing audience are ushered around and swarm, designed by Bunny Christie (Company). To get the full Bridge Theatre experience, I went into that pit. So going forward, this is the perspective that the show is written from, rather than one of the seated tiers. 

Advice is to definitely to wear FLAT comfy shoes and something with pockets if you're going in the pit, as you have to leave all bags and coats in the cloakroom. Something with long sleeves is also a good idea, as it did get chilly at times. 

Once you get the ticket checked, the rattle of the subway transports you to 1940s New York. 

In the pit, you see venders selling drinks and snacks such as pretzels. You can even get a trilby hat if you really want to! You feel part of the action and hubbub from the note dot. 

Then the show gets truly underway. And you are only a hair's breath away from being kicked in the face by one of the dancers, from making real eye contact with the characters; and having Marisha Wallace belt in your face. 

It is pure joy. 

I have talked about Guys & Dolls before, having seen the touring production a few years ago (and a local amateur production last year); but in case you haven't heard what is claimed to be the greatest musical of all time, it's all about gambling and falling in love, set in 1940s New York city. The two stories of Adelaide/Nathan and Sarah/Sky are hugely entertaining, heartfelt and feel-good, especially when performed with a company of this high a calibre. 

If excitement wasn't already at a high at the Bridge putting on this classic musical, the casting certainly put it over the edge, for theatre fans at least.

That being Marisha Wallace (recently Olivier nominated for Oklahoma!), Celinde Schoenmaker (Marry Me A Little) and Cedric Neal (Back to the Future)  I love all of these guys anyway; getting to see them in these roles, which I feel were perfect fits for them, in this production is even better. For Wallace in particular, as I cannot think of another POC actress off the top of my head who has played Miss Adelaide (boo!). 

I loved her take on Adelaide. She had a natural confidence and sassiness that shone through numbers like A Bushel and a Peck; but when it came for her to be vulnerable, after Nathan let her down AGAIN, her softness was so touching. This was a woman who knew what she wanted (and in my personal opinion deserves so much better). 

Sarah Brown is a natural fit for soprano Schoenmaker. She got to show off the range of her vocal, both her head soprano, and also her Fantine-esque belt. This is also the first Sarah I have seen that made me laugh, especially in the Havana scene, and the little tipsy tid-bits she put into her acting of If I Were a Bell. Her falling in love with Sky is perhaps the most realistic I've seen too. 

Speaking of Sky, I will mention quickly that Andrew Richardson has the most incredible suaveness about him: Frank Sinatra and Rupert Everett combined. And just as it is from Sarah's point of view, you can see him truly falling in love with Sarah as the play goes on. It makes his Luck be a Lady mean so much later on. 

From one showstopper to another: Sit Down, You're Rockin' the Boat is a party! And that's thanks to Cedric Neal 

And that's all I am going to say on that....

A party is the best way to describe this Guys & Dolls. From the first note, director Nicholas Hytner and choreographers Arlene Phillips and James Cousins wanted the audience dancing - and oh did we. From before the Overture starts, to the interval, and even once the company have taken their bows. 

If you're in the pit, there are a couple of extra surprises too to really get you involved, but I am not going to spoil them too much. 

I cannot recommend this production enough. Guys & Dolls I have thought, truly is a show for everyone; this takes it up a HUGE notch, and brought it right up to date. Be prepared to dance and smile from ear to ear from start to finish. 

Even better, is that the cast recording (of this very production), was just released! 

It truly is, in my case, better seeing it late than never. Thank the Looord for no train strikes on that day!