By Dale King
After recently toying with a variety of theatrical genres, Lake Worth Playhouse has chosen to kick off the 2023 portion of its 70th season with a tried-and-true classic, Guys and Dolls.
This stage staple centers on Depression-era gamblers and their women, referred to without objection as “dolls” and “broads,” whose major goal in life is to marry and raise kids.
The show, with music and lyrics by Frank Loesser, is based on a book by Jo Swerling and Abe Burrows. Its characters and situations are torn from the pages of short stories by writer/journalist Damon Runyon.
Guys and Dolls premiered on Broadway in 1950, where it won the Tony Award for Best Musical. It has been revived several times on Broadway and in London and it also begat a 1955 film.
LWP’s tech crew, headed by set/lighting designer Ardean Landhuis, has assembled a truly realistic backdrop depicting New York’s Times Square circa 1930, complete with a news stand, a funky dance palace and a tasty pastry shop. Alleyways running hither and yon serve as entrances and escape routes – whichever fits the situation.
Costume designer Jill Williams deserves a hand for creating some credible, era-specific costumes, right down to the gangster suits and felt fedoras – including the sparkling white chapeau worn by Harry the Horse (Danny Distasio).
Guys and Dolls succeeds for several reasons: A slick script, some viable plot lines and lots of songs, which include several still popular today: “A Bushel and a Peck,” “Luck be a Lady Tonight” and “Sit Down, You’re Rocking the Boat.” The title song is perhaps best known for its recitation of how “guys” spend lots of money on presents, apartments and other amenities for their “dolls.”
The well-known tunes mix with lesser-known melodies that are diverse, generally enjoyable and which pretty much tie in with the action. Guys and Dolls is a long show – running some two-and-a-half hours, with one intermission. It dotes on witty dialogue and fine dancing to help move the action.
The show requires a large cast – and LWP has assembled a fine troupe with obvious talents. Many are young and still developing their on-stage personae in commendable style. Director and choreographer Joanne DePrizio has taught her charges well. The dance ensemble is truly adept, and vocalists are laudably skilled.
DePrizio helms the show with finesse, having spent some 35 years in the business. The production runs smoothly, considering the number of performers on a stage that’s limited in size. DePrizio is ably aided by Elizabeth Damico, assistant to the choreographer.
As the LWP production opens, the overture plays as crowds of New Yorkers begin to fill Times Square (“Runyonland”). Three small-time gamblers, Nicely-Nicely Johnson (Bill Vitucci), Benny Southstreet (Charles Ponthokkan) and Rusty Charlie (Chris Ombres) gather at the news stand to peruse the racing forms (“Fugue for Tinhorns”).
Suddenly, band members from the Save-a-Soul Mission, led by the pious and beautiful Sgt. Sarah Brown (Elizabeth Robinson), march through the square, calling on sinners to “Follow the Fold” and repent. Nicely-Nicely and Benny’s employer, Nathan Detroit (Matthew Schenk), frantically enters the scene, overwrought because he can’t find a place to conduct a big-money craps game.
Eventually, he turns to master gambler Sky Masterson (Ryan Stender) and makes a desperate bet, hoping to win $1,000 to pay for a gambling site away from prying police eyes. As part of the bet, Sky pursues Ms. Brown, the straight-laced missionary – and wins the wager. She agrees to travel with him to Havana, where she nearly succumbs to the enticement of hot dances — and Sky, himself.
Although Sky set out to woo Sarah to win a bet, they eventually fall in love – a relationship that plays out with tender ballads like “I’ve Never Been in Love Before” and “If I Were A Bell.” And while Sarah finally rejects him as a sinner and gambler, Sky still promises to deliver on his “marker” to bring 12 sinners to her repentance hall – a maneuver intended to save the religious center from shutting down.
In the meantime, Detroit and his girlfriend, Ms. Adelaide (JB Peters), a singer at the Hot Box lounge, are celebrating the 14th anniversary – of their engagement. Their odd relationship creates an interesting subplot.
In Guys and Dolls, vocals are as infectious as the gambling bug. Robinson’s soaring operatic soprano voice is notable, particularly in the tune, “I’ll Know.” Her duets with Stender – a kind, gentle tenor – are lovely.
As a singer at the Hot Box, Peters and her dance ensemble offer up a cute, capable rendition of “A Bushel and a Peck,” complete with farmland set. They return with a fierce performance of “Take Back Your Mink,” a musical confrontation between angry ladies and the guys who “done them wrong.”
Vitucci commands “Sit Down, You’re Rocking the Boat,” a melody he performs – well, nicely. “Luck be a Lady Tonight” opens with a wonderful dance production, then Stender jumps in with a full-tilt vocal to finish the tune.
Guys and Dolls plays through Feb. 5 at the Lake Worth Playhouse, 713 Lake Ave., Lake Worth Beach. Tickets can be purchased by calling 561-586-6410 or by visiting www.lakeworthplayhouse.org.