These days, it seems the best thing that a musical can be is non-traditional. Countless new productions have landed on our stages in recent years, proclaiming that their show is “like nothing we’ve ever seen before”. And while it is exciting to see new works that push the form into genre-defying territory (the brilliant Hadestown is testament to this) as well as productions that put a new twist on well-trodden territory (like The Hayes’ reinvention of The Pirates of Penzance), it’s a refreshing change to see the complete opposite: a proper classic musical theatre spectacle, that remains authentic to the source material.
Opera Australia’s fresh production of Guys & Dolls – the latest outdoor spectacle in the Handa Opera on Sydney Harbour series – gives us just that, with the picturesque backdrop of the Sydney skyline, to boot.
The New York imagined by Damon Runyon, whose short stories served as inspiration for Guys & Dolls, is a place of heightened realism, populated by comical gangsters with absurd names like Harry the Horse and a thirst for illegal gambling. Director Shaun Rennie (Jesus Christ Superstar) stays true to this world, while also injecting some fresh touches. Brian Thomson’s heightened stage design perfectly compliments this – oversized set pieces, such as a giant yellow taxi, make the most of the unique outdoor setting and the enormous floating stage.
The production’s stars are uniformly excellent... Cody Simpson is able to move between effortlessly suave and sincere
At the heart of the show are the love stories of two contrasting couples: the down on his luck gangster Nathan Detroit and his fiancée of 14 years, the glamourous showgirl Miss Adelaide; and the “opposites attract” dynamic of Sky Masterson, a smooth high-flying gambler, and the buttoned up Sarah Brown, the pious leader of the Save-a-Soul Mission.
The production’s stars are uniformly excellent in their roles. Making his Australian musical theatre debut as Sky Masterson, Cody Simpson is able to move between effortlessly suave and sincere, all while showcasing a fabulous tenor voice. Annie Aitken gives Sarah Brown wonderful strength and personality, and her gorgeous soprano seems to float across the stage. Bobby Fox’s Nathan Detroit is just the right amount of hapless and big-hearted, and you can’t help but root for him despite his flaws. Angelina Thomson plays larger-than-life Miss Adelaide with a delightful amount of sass, and enough heart to take the role beyond a one-dimensional caricature (quite a feat, considering this show is packed with cartoonish personalities). Jason Arrow (Hamilton) is also a stand-out as Nicely Nicely Johnson, and when he energetically takes the lead on ‘Sit Down, You’re Rockin’ the Boat’ in Act Two, it’s a highlight of the whole production.
Meanwhile, Kelley Abbey’s dynamic choreography is a perfect example of “classic” musical theatre (with the possible exception of ‘A Bushel and a Peck’, which takes a particularly raunchy, more modern direction – but the glittering cowgirl costumes are nonetheless dazzling). The large ensemble numbers are spectacular to watch, as each dancer works together with precision. The new orchestrations by Jack Earle and Guy Simpson add a rich new aspect to the show, and it’s also wonderful to be able to see the Opera Australia Orchestra on display in this production – who are positioned in a purpose-built, fully enclosed sky-deck for the first time in Opera on the Harbour history, rather than being hidden away.
Special mention must also go to Bruno Poet’s lighting design, which is used to great effect to reflect elements of the story such as starry night skies, and the costumes by Jennifer Irwin, who makes sure the stage bursts with colour. The men’s suits are particularly wonderful, in a delightful array of colours and patterns.
While it doesn’t reinvent the wheel, this production also makes some subtle adjustments to modernise the storytelling and mix up the usual blueprint. It is perhaps unavoidable that a show which debuted in 1950 will carry some old-fashioned, heteronormative baggage. But I'd also argue that Guys & Dolls also contains universal themes that ring true today. After all, people have never stopped doing crazy things for love – and love still makes everyone vulnerable, which can be both beautiful and terrifying.
Perhaps the only real miss is the somewhat disappointing decision to give Lieutenant Brannigan, the show’s primary antagonist, a pronounced speech impediment. It’s a lazy way to get some laughs that undersells the talents of actor Thomas Campbell (The Lewis Trilogy, Metropolis, Gentlemen Prefer Blondes) – and raises the question of whether, in the year 2025, we should still be taking something that can cause people quite significant difficulties in life, and using it as a comedic device.
The choice to characterise Big Jule (played here by Doron Chester) – traditionally cast as a large, staunch man who intimidates all the other gangsters – as a sketchy, hyperactive little man is also a hit and miss choice. It provides some big laughs, but then some of the dialogue falls flat, as he doesn't appear to be quite as threatening as we are repeatedly told he is.
Quibbles aside, this is a stunning overall spectacle with something for everyone to enjoy. Almost three hours (including a 35-minute interval) is a long time to sit on a solid plastic chair – but bring along a cushion, and you’ll be set for a fantastic night of high-quality musical theatre in an unbeatable location.
Handa Opera on Sydney Harbour: Guys & Dolls is playing a limited four-week season until April 20. Tickets start at $79+bf and you can purchase them over here.
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