October 13, 2012
The GazetteOctober 13, 2012
By Pat Donnelly
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The iconic American musical Guys and Dolls, with its vivid portraits of gangsters in spiffy suits who call the shots in the Big Apple, strikes a special chord in a city rocked daily by Charbonneau Commission revelations about corruption in Quebec. If Lino Zambito had a casting agent he might have ended up with a starring role (say, Big Jule) in this rollicking tale. He has been singing like a bird on the witness stand.
No wonder holdover dates (three) for the Segal Centre production were announced at its official opening on Thursday night.
Guys and Dolls, based on short stories by Damon Runyon, is simply one of the best musicals ever written, with vividly drawn characters, a compelling story about illicit gambling in N.Y.C. in the late 1940s, haunting melodies and lyrics (by Frank Loesser) that embed themselves in the ear. It swept the Tony Awards when it premiered on Broadway in 1950. Its catchy tunes were huge pop music hits at a time when Broadway musicals were a direct path to radio air play. For those of us who imbibed songs like Luck Be a Lady, and A Bushel and a Peck with mother’s milk, nostalgia is part of the attraction.
The last time Montreal had a full-scale professional English production of Guys and Dolls was at Centaur Theatre back in 1987.
Although director Diana Leblanc has had little experience with large-scale musicals, she has delivered many imaginative, memorable moments within an uneven but enjoyable production. With the help of choreographer Jim White, set and costume designer Michael Egan, and an orchestra led by Nick Burgess, she has turned the Havana club scene into a showstopper.
This sexy romp leads into the highly romantic I’ve Never Been in Love Before, delivered beautifully by Tracy Michailidis, as the mission girl Sarah gone wild. She is the standout singer of the show, hitting pop opera heights. But this song is a duet, shared with Scott Wentworth, as Sky Masterson, who has a less flamboyant singing voice. He has played the role twice before, at the Stratford Festival, most recently in 2004, so he has mastered the territory. But in addition to the mismatched vocals, Michailidis looks young enough to be his daughter. Wentworth’s innate gravitas (so well suited to Shakespeare’s tragedies) adds to this paternal quality, which makes their romance a tough sell.
Our interest shifts to the second couple, Nathan Detroit (Frank Moore) and Miss Adelaide (Susan Henley). Here again, there’s an age and vocal gap with Henley, somewhat younger and of stronger voice. But Moore lays on the charm in Sue Me, and Henley seems credibly in love as she belts and sniffs her way through Adelaide’s Lament, in the appropriate dialect, stealing the show.
And there’s scene larceny throughout by the likes of Mike Paterson, who plays an adorable Nicely-Nicely. He leads the rousing Sit Down, You’re Rockin’ the Boat, with goofy panache. Massimo is a terrific Big Jule, whose enthusiasm for shooting craps knows no limits. Jane Gilchrist turns in a lovely cameo as the stern mission general with a heart of mush. And so on, in this strong song and dance ensemble made up mostly of those whose acting is their ace card.
Guys and Dolls, with music by Frank Loesser, book by Jo Swerling and Abe Burrows, continues at the Segal Centre until Oct. 31. Call 514-739-7944 or visit www.segalcentre.org