Reviewed 2/18/05
On the heels of their great production of another of the Golden Age of Broadway Musicals, Gypsy, Broadway Palm West Dinner Theatre is moving focus from the transient world of vaudeville to the stationary floating crap game as they mount Frank Loesser’s great classic Guys and Dolls. This is one of those surefire scripts in which every other song is instantly recognizable. Helming is veteran Diana Shuster in her first BPW production. In this case, the production is a qualified success: Several of the leads are top notch, a few fair to middling; the singing is generally spectacular, but Dottie Lester-White’s choreography falls short of expectations; the design element is highlighted by John P. White’s colorful costumes, but basic lapses like having the run crew visible though drops and scrims setting up for the next scene feels much too amateurish for this established company. When this thoroughbred sprints, she’s spry, but when she stumbles, it’s quite noticeable.
There’s no stumbling in the dinner offerings. Executive Chef Clifton Weir has developed a strong menu highlighted by a very interesting roasted turkey with apple cider glaze. My table quite enjoyed the roasted pork loin with pineapple chili pepper sauce, and I favored the braised eye round of beef. The side dish that won universal acclaim with my guests was the white cheddar mashed potatoes; that and the turkey warranted a return trip to the buffet. No one was impressed with the three cheese stuffed shells with pesto sauce, but the garden vegetable casserole was given a thumbs up.
The lead couples are a split combo. Aaron Lake’s Sky Masterson is a handsome fellow with a pleasant voice, but his presence is not quite up to the requirements of the role. He can be energetic, but there’s little magnetism that raises him to the level of his character’s central status. Balancing this, though, is the lovely voice and endearing charm of Tracy Ganem’s Sarah Brown. Her strong and showy soprano is an asset upon which she builds her sweet interpretation of her character. It’s the opposite balance between Nathan and Adelaide: Peter Riopelle’s spunky performance of the ever-on-the-lam Nathan and his nearly scene-stealing magnetism make him a crowd favorite. LoriAnn Freda’s offering as the squeaky-voiced Adelaide is more put on than performance. It takes a lot to keep Adelaide’s silliness and high-pitched voice from becoming annoying, and Freda is unable to do this.
The show sets itself right, and wrong, from the very beginning. Michael Walker, Chuck Caruso, and Seth Mrowka are engaging as they sing “Fugue for Tin Horns,” but JR McAlexander’s orchestra and the performers' sketchy diction occasionally overwhelm them. From there, Walker’s Nicely Nicely Johnson leads a very strong ensemble. His expressive voice, jocular attitude, and strong presence are highlighted in his engaging and enjoyable rendition of “Sit Down You’re Rocking the Boat.” The dances of the Hot Box girls are something of a disappointment, as they’re given choreography with nothing we haven’t seen before in such songs as “Take Back Your Mink.”
The scenic design is a cartoon with a palate of broad colors that depends on painted flats and scrims. Russell Thompson’s lighting is a solid design with a few flourishes, especially during the sewer sequence, and the orchestra sounds a little heavy on the electronic amplification in an attempt to come across as one of those big orchestras of yesteryear.
There are some wonderful moments in this very enjoyable production. Eight’ll get you five that you’ll find something you like at BPW this go around.
-30-
