Guys & Dolls

Handa Opera on Sydney Harbour reviewed by Murray Dahm

This is a great show, but it’s not opera. Frank Loesser’s Guys & Dolls (he wrote both the music and lyrics – the book (the plot and dialogue) by Jo Swerling and Abe Burrows) is based on several short stories by New York writer Damon Runyon. These stories were set in New York during the Prohibition era (the 1920s until 1933) and gave rise to several typical types of characters. These characters are all on display in the musical (although no one, especially not in Australia, would now use the once common phrase of Runyonesque to describe them!). Loesser’s musical premiered in 1950 (running for 1,200 performances) and went on to win five Tony Awards, including Best Musical that year. It was also famously adapted as a film in 1955 (with Frank Sinatra as Nathan Detroit, Marlon Brandon as Sky Masterson, Jean Simmons as Sister Sarah Brown and Vivian Blaine (revising her stage role) as Miss Adelaide – directed by Joseph L. Mankiewicz, who also wrote the screenplay). Probably, most people know the song ‘Luck be a Lady’ performed by Frank Sinatra (they may not even know it’s from the show). There are, however, many musical delights in Guys & Dolls.

The story tells of Nathan Detroit (Bobby Fox) and his two off-siders Nicely-Nicely Johnson (Jason Arrow) and Benny Southstreet (Joel Granger) trying to find a venue for their (illegal) crap game (the oldest established crap game in New York). Nathan is down on his luck so bets legendary gambler Sky Masterson (Cody Simpson) $1,000 that he can’t get a girl to accompany him to Havanna. Nathan names Sky’s target as the Save-a-Soul Misson Sister, Sergeant Sarah Brown (Annie Aitken). Meanwhile, Nathan’s long-suffering fiancé, Miss Adelaide (Angelina Thomson), who has been engaged to him for fourteen years, longs for the day he finally gives up gambling and they can be married. She reveals to him that she has already told her mother by letter that they have been married for twelve years and have five children! Shenanigans ensue.

This Australian production directed by Shaun Rennie, with sets designed by Brian Thompson and costumes by Jennifer Irwin takes us more into the 1950s than the 1920s/30s – the set dominated by two elements – a giant One Way sign above the stage and an oversized yellow taxi on it which plays stage, venue, hiding place, platform and conversation piece. The Night-time Sydney skyline actually added to the set, playing its uncredited role as New York City. Everyone performed in consistently high-quality New York accents. Although you might expect some of the jokes to have aged, most landed and were genuinely funny (the reference to a Studebaker didn’t connect – perhaps Aussies don’t understand the size of a Studebaker boot). Kudos to Thomas Campbell (as Lt. Brannigan) for his perfectly delivered speech impediment (where r’s and l’s were ‘w’ – called rhoticism and l-vocalization – only on rare occasions was it too tricky to decipher in time to laugh what he actually meant (‘high rollers’ is fiendish to say, let alone understand with said impediments!). So too, Thomson’s consistent ‘I have a cold’ nasality was fabulous.

For me, the star of the show was the choreography both in design (choreographer Kelley Abbey) and execution. From the overture to the finale there were several stand out pieces of dance which were a joy to behold – special mention to the overture (a mime of New York street life, technically known as ‘Runyonland’), ‘Luck Be a Lady’, ‘Sit Down, You’re Rocking the Boat’ and the fight in Havana. There were only a couple of more modern gestures (in ‘A bushel and a Peck’ especially – less so in ‘Take back your Mink’) which didn’t seem to fit. It was wonderful to be able to see the 26-piece orchestra behind the One Way sign above the stage (called a ‘magical twist’ in Opera Australia’s publicity. When the light came up on them, it garnered surprised applause before they had even played a note. They played the new orchestrations by Jack Earle ably all evening, capably led by Musical Director Guy Simpson. Sound (Jim Atkins) and light (Bruno Poet) was consistent and reliable.

Musically, the highlight of the evening was the Nicely-Nicely led ‘Sit Down, You’re Rocking the Boat’ – this allowed Arrow to shine – and it had two built-in encores. These, though planned, were thoroughly deserved and utterly enjoyable. However, up to this point (the number occurs quite late in the second act), there were several highlights. The opening trio (‘Fugue for Tinhorns’) was a delight and the duet ‘I’ve Never Been in Love Before’ touching. It is perhaps tricky when both romantic leads are baritones – Simpson’s tone was lovely and he was always necessarily suave (and full of character too in ‘Luck Be a Lady’ – another high point). Aitken’s high soprano was consistent and secure – her acting too (including her drunkenness) as she realised that she was in love with a gambler from the wrong side of the tracks. She slipped into belt (musical singing technique) at one particularly apt point. I enjoyed Thomson’s ‘Adelaide’s Lament’ although the need to clamber onto the boot of the taxi was a little problematic. There was a soft high note in Thomson’s reprise (‘Adelaide’s Second Lament’ which was exquisite, tender and vulnerable. Overall, the singing from everyone was at a high level – characterful and consistent.

Standing ovations greeted the show on opening night and well-deserved applause occurred throughout. This is a great show and will make for an enjoyable night out (weather permitting) throughout its run. However, this is touted as Handa Opera on Sydney Harbour (HOSH in ‘insider speak’ or just ‘Handa’). No one would maintain that Guys & Dolls, no matter how enjoyable or well performed, is an opera. There really is no justification for this as an opera on the harbour. Acting Chief Executive Officer of Opera Australia, Simon Militano, noted that this was the first time comedy had been done on the harbour. There are many operatic candidates which could have been mounted – comic opera abounds with possibilities. What better way to draw audiences into opera – Donizetti’s Elixir of Love or even the fabulous recent productions of Rossini’s Barber of Seville or Bernstein’s Candide would have worked spectacularly on the water with our glorious city as their backdrop.

Handa Opera on the Harbour March 21, 2025