Guys and Dolls, a classic musical that originally hit Broadway over 70 years ago, is still making audiences laugh, swoon, and tap their feet to this day. Experiencing a full-scale theatrical version of Guys and Dolls live on stage is a rare and special treat, particularly for those like myself who have only seen the film adaptation. This production, directed by Robbie Parkin and staged by Ipswich Musical Theatre Company, truly encapsulated the magic of old-school Broadway. With a cast of 32 performers and an 18-piece orchestra led by Music Director Peter Laughton, the show is a joyous reminder of why American musical comedies like this remain timeless.
From the opening slapstick pandemonium in Times Square to the bustling neon lights that transported us straight to 1920s Broadway, the show captured the essence of Damon Runyon’s Manhattan world. The production values are high—lighting and sound design by Murray Keidge and Owen Forsyth enhanced every moment, and immersive set pieces designed by Chris White brought the city to life. You could practically smell the hot dogs in Times Square (or maybe that was just me getting hungry). The costumes and wigs, designed by Delma Odger - from the glitzy outfits of the Hot Box Girls, the sharp suits of the gamblers, the flouncy dresses of the Havana dancers, or the more understated attire of Sarah Brown and her mission band - every piece felt true to the era and brought the characters to life.
At the heart of the story is the whirlwind romantic entanglement of the suave Sky Masterson (played by Jacob Ballard) and the uptight yet loveable Sarah Brown (played by Samantha Sherrin). Their chemistry was electric, their playful banter and blossoming romance created a back-and-forth energy that kept the audience chuckling and rooting for them.
Leading the charge as the pure-hearted but tough Sister Sarah Brown, Samantha Sherrin was an absolute powerhouse, balancing Sarah’s stoic resolve with moments of vulnerability and unexpected humour. When Sarah finally lets her guard down (with the help of a generous amount of Cuban rum), Sherrin’s comedy shines, rendering her both hilarious and endearing in equal measure. Her number “If I Were a Bell” was a standout, as she embraced her newfound freedom in a carefree, tipsy moment. Her soprano vocals were stunning throughout, particularly in “I’ll Know,” where her range and emotional depth left the audience spellbound. Her portrayal of Sarah is affectionate, reminiscent of Maria from The Sound of Music — self-assured yet soft-hearted. Do yourself a favour and read our spotlight interview with Samantha Sherrin, who gives more insight into her portrayal of Sarah Brown and the unique challenges of bringing such a beloved character to life.
Jacob Ballard, in his role as the dashing Sky Masterson was an excellent choice, but it was his vocal serenade that truly captivated the audience. In "Luck Be a Lady," he commands the stage, and as the men sing in chorus behind him, there’s a sense of palpable anticipation that gives the entire number a spine-tingling energy. In "I’ve Never Been In Love Before," his jazzy vocal delivery was as smooth as a Frank Sinatra ballad. His journey from hardened gambler to love-struck suitor was portrayed with just the right balance of drama and romance. Ballard's impeccable vocal control made it impossible not to be swept away, making you fall for Sky faster than Sarah herself!
Russell Morgan’s depiction of Nathan Detroit was a character you couldn’t help but root for, despite his scheming. With his snappy one-liners, DeVito-esque voice, and jittery energy, he becomes a loveable rogue who somehow manages to pull the wool over everyone’s eyes. His portrayal really brought out the human side of the character, making you understand why Adelaide keeps holding out hope for him after all these years.
Kaitlyn Burton’s performance as Adelaide was pure perfection—her comedic timing, emotional vulnerability, and high-pitched accent (which I can only imagine was impossible to drop after each performance). She's the heartbeat of the show, evoking both laughter and empathy from the audience simultaneously. In 'Adelaide’s Lament', Burton hilariously laments her persistent cold, a result of Nathan’s inability to commit, with such gusto that even from my seat at the back, her expressions were vivid and captivating. Adelaide and Nathan's romance is sugary sweet. Burton and Morgan's interplay is both hilarious and touching, a testament to their onstage chemistry. Their duet "Sue Me" was packed with heart and humour — the perfect summation of their turbulent relationship.
Another standout is Stuart Fisher as Nicely-Nicely Johnson. This guy is like a magnet for laughs, swooping in and stealing the spotlight every chance he got. His performance of "Sit Down, You’re Rockin’ the Boat" brought the house down, blending musical theatre and gospel energy that revitalised the late-hour crowd. The ensemble's exaggerated reactions and tight harmonies added to the fun. The "Guys and Dolls" number, performed by Fisher and James Burton (Benny Southstreet), was a lively, humorous duet that had the audience grinning with its infectious energy.
In the delightful circus of smaller roles, we have Luke Ralph's intimidating Big Jule, who's more bark than bite, Grant Couchman's gentle Arvide Abernathy, and Jacqui Cuny's commanding General Cartwright, all adding their unique flavours to the well-cast show. Abernathy's tender performance of "More I Cannot Wish You" was like a warm hug that left me wishing we had heard more vocals from his character. Meanwhile, Cuny’s General reinvigorates the show as it barrels towards its final act, leading the hilarious prayer meeting with all the fervour of a true leader.
The ensemble numbers in Guys and Dolls were nothing short of spectacular. With energetic choreography by Simon Lind, the cast brought to life the bustling streets of Manhattan, the sizzling heat of Havana, and the grimy underbelly of New York’s sewers. “The Oldest Established” was a fantastic showcase of voices, while the choreography in “A Bushel and a Peck” had a bouncy, playful energy, despite a few moments where the dancers could have been more in sync. The Hot Box numbers were as cheeky and entertaining as you’d expect, with Burton front and centre, exuding leading-lady sparkle. "The Crapshooters’ Dance," set in the sewers of New York, was a high-octane, sweat-inducing dance sequence that made us tired just by watching, but those dancers crushed it with their endurance and skill!
The production incorporates downstage scenes to mask set transitions, notably for the elaborate Havana backdrop. This approach not only ensures a brisk pace but also enhances the overall sophistication of the performance. The Havana sequence itself is a highlight, with its exquisite costumes and wigs and lively choreography radiating joy. Particularly memorable is the moment when Sarah, inadvertently tipsy, transforms into a dancing menace (complete with some Raygun moves).
It would be a crime not to mention the outstanding live orchestra, under the masterful baton of Musical Director Peter Laughton. The score of Guys and Dolls is iconic, and the orchestra delivered the rich, full sound that made this production feel like a true Broadway experience. During the Entr'acte, they even projected a live video of the orchestra onto the back wall of the stage for both the characters and the audience to enjoy together. It’s rare to experience a live orchestra of this caliber in local theatre; it added an extra layer of magic to the production.
Guys and Dolls is an undeniable classic, and this cast brings it to life with a freshness that defies its age. The dialogue, though written decades ago, still zings with humour, and lines like “Coffee. So good I can’t believe it’s not a sin,” land with perfect comedic timing. It’s clear that every member of the cast and creative team poured their hearts into this production. This was a top-tier production from Ipswich Musical Theatre Company, and if this performance is any indication, their upcoming shows (Songs That Won the War in November, A Little Night Music in February, and Come From Away in September 2025) will be unmissable. Bravo to everyone who participated in this enchanting evening of theatre that took us on a journey back to the golden age of Broadway.
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