Muny Opens with a Broadway Classic

The Muny's new and expanded stage was ushered in for opening night. Muny photo.
The Muny’s new and expanded stage was ushered in for opening night.      Muny provided photo.

It’s a New Era for Guys and Dolls

and The Muny’s 101st Season

By Pat Lindsey

It’s the perfect show to begin a brand new century on a brand new stage for The Muny’s 101st season. Guys and Dolls, a classic musical from the last century (1950), explodes on the state-of-the-art stage with the lights of Broadway, dazzling song and dance numbers, and more talent than should be allowed in one theater.

Based on the short stories and characters of journalist, Damon Runyon, and the book by Jo Swerling and Abe Burrows, Guys and Dolls is two connected story lines. First, gambler Nathan Detroit (Jordan Gelber) must find a venue for his floating crap game while trying to escape the heat from Lt. Brannigan (Rich Pisarkiewicz) and his fiancee of 14 years, Adelaide (Kendra Kassebaum). To finance his search for a gambling venue, Nathan bets high-roller Sky Masterson (Ben Davis) $1,000 that he cannot persuade pious Sarah Brown (Brittany Bradford), the leader of the Save-A-Soul Mission, to go to Havana with him for one evening. Sky takes the bet, but he doesn’t realize that the stakes are going to be much higher than $1,000. This bet is going to cost him his heart.

Sarah Brown (Brittany Bradford) and Sky Masterson (Ben Davis) in Havana.
Sarah Brown (Brittany Bradford) and Sky Masterson (Ben Davis) in Havana, Cuba.

As the story unfolds, we see the well-dressed gamblers running in mad-cap fashion in and out of possible places to hold their crap game. From time to time, the audience is whisked off to the Hot Box Club, where Adelaide and her troupe of dancers perform, and then there is a short trip to Havana. With each scene change, the audience gets to see some of the features of the new stage…An extension of the stage rises from the orchestra pit and on top of it are the sizzling Hot Box dancers. Scenery glides easily on tracks, instead of being pushed and pulled around by stage hands. A secret trap door in the floor of the stage serves as a manhole as the gamblers crawl out of the sewer to escape the cops. All this, as well as superb sound, lighting, and technology breathes new life into this spectacular show.

21 Jordan Gelber, Kendra Kassebaum
Miss Adelaide (Kendra Kassebaum) and Nathan Detroit (Jordan Gelber).

The standout star of this production is Miss Adelaide (Kassebaum), whose trained operatic voice is often shrouded by pitches that sound like nails on a chalkboard. She sings “Adelaide’s Lament,” in which she hilariously details her psychosomatic ailments brought on by her fiance’s neglect.  In her big number, “Take Back Your Mink,” she goes on to reveal how disappointed she is with the love of her life. Adelaide earns respect and sympathy from the audience, as everyone desperately hopes she’ll finally convince the lovable and animated Nathan Detroit (Gelber) to marry her. It’s obvious that Nathan loves her and Gelber does a fantastic job of establishing that rapport. Together, they are a match made in Runyonland.

There is somewhat less chemistry between Sky Masterson (Davis) and Sarah Brown (Bradford), but their golden voices are beautifully paired in the songs, “I’ll Know” and “I’ve Never Been in Love Before.” It is those Frank Loesser songs, along with “Luck Be a Lady,” “A Bushel and a Peck,” “Sit Down, You’re Rockin’ the Boat,” and many more that have enabled this show to withstand the test of time. Love finally ignites between the sinner-saving Sarah and the cool, calm, and collected Sky when Sarah learns that Sky not only remained true to his word by producing more than a dozen sinners for a meeting at the mission, but he also refused to accept the $1,000 for persuading her to go to Havana with him. As with all great musicals, there is a happy ending.

The highlight song, “Sit Down, You’re Rockin’ the Boat” really rocked the audience. Kudos to Music Director, Brad Haak and Co-Choreographers, Lorin Latarro and Patrick O’Neill for making this the most rousing version I’ve ever seen or heard.

The entire cast and creative team of Guys and Dolls have exemplified what it means for The Muny to be “alone in our greatness.” If there were any glitches on opening night, I didn’t see them. If there was any construction not completed, only the staff would know. The 101st season has opened with the perfection St. Louis audiences have come to expect. It pays to think big and have Lady Luck on your side.

Guys and Dolls will be playing on the new Muny stage through June 16. For ticket information, call 314-534-1111 or go to muny.org.

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