The Barn Theatre, Southwick Community Centre
March 30, 31 – April 1, 2, 3 1993
Guys and Dolls
Music & Lyrics by Frank Loesser
Book by Jo Swerling & Abe Burrows
Ray Hopper – Nicely-Nicely Johnson
Adrian Kenward – Benny Southstreet
Andy Chalk – Rusty Charlie
William Murray -Nathan Detroit
Vic Gough – Arvide Abernathy
Christopher Martin – Sky Masterton
George Illman – Lieutenant Brannigan
Brian Moulton – Big Jule
Brian Jones – Harry the Horse
Mike Renouf – Scranton Slim and Texan
Ralph Dawes – Joey Biltmore
Dave Collis – Angie the Ox
Kevin Isaac – Liver Lips Louie
Kevin Isaac – Doll Salesman
Philip Burton – Brandy Bottle Bates
Philip Burton – Boxer
Alan Upton – Benny the Greek
Tim Donkin – Pickpocket
Tim Donkin – Society Max
Charles Porter – Calvin
Mark Flower – Policeman
Rosemary Brown – Sarah Brown
Rosemary Mose – Miss Adelaide
Sheila Wright – Agatha
Frances Moulton – Martha
Joan Braddock – General Cartwright
Jo Hopper – Mimi
Eileen Farmiloe – Hot Box Girl
Jo Hopper – Hot Box Girl
Jane Porter – Hot Box Girl
Hazel Starns – Hot Box Girl
Meriel Taylor – Hot Box Girl
Claire Wiggins – Hot Box Girl
Betty Dawes – Bag Lady
Judith Berrill – Waitress [New York]
Judith Berrill – Newsvendor
Margaret Faggetter – Waitress [Cuba]
Margaret Faggetter – Streetwalker
Smudge Roberts – Streetwalker
Sue Whittaker – Guide
Linda Mostyn – Sightseer
Sheila Neesham – Sightseer
Jennifer Mose– Film Fan
Gail Taylor – Film Fan
Dorothy Edney – Doll Stallholder
Charlotte Porter – A Baby
Conor Maynard – A Baby
Musical Director – Eric Thompson
Musical Director – Patrick Johnson
Designer – Vincent Joyce
Choreography – Trudy Nash
Choreography – Jane Porter
Stage Manager – Dave Comber
Lighting & Sound – Frances Thorne
Lighting & Sound – Trevor Langley
Guitar – Bob Ryder
Set – Brian Box
Set – Dave Collis
Set – Dave Comber
Set – Mike Davy
Set – Ralph Dawes
Set – Mark Flower
Set – Tim Hayles
Set – Frances Thorne
Set – Sheila Neesham
Properties – Margaret Davy
Properties – Sue Whittaker
Wardrobe Co-ordinator – Margaret Faggetter
Assistant – Val Dymock
Assistant – Margaret Hilchey
Assistant – Smudge Roberts
Millinery – Frances Moulton
Continuity – Margaret Ockenden
Production Secretary – Jean Porter
Publicity – Judith Atkinson
Publicity – Jamie Boath
Publicity – Ann Donkin
Publicity – Jean Porter
Photography – George Laye
Box Office – Jill Redman
Front of House Manager – Reg Heselden
Front of House Manager – June Illman
Front of House Manager – Margaret Murrell
Programme Notes: Guys and Dolls – ” This is the Wick’s 150th Production “
Guys and Dolls is based on a story and characters by Damon Runyon. It was first performed in the 1950’s and has been popular ever since. Set against a background of lively street life on Broadway in the 1930’s, the colourful characters play out a story of the struggle between good and evil and the attraction that each holds for the other.
Damon Runyon wrote realistically about people and there is no black and white divide between good and evil in his characters.
The Director, Joan Bearman says: ‘The crapshooters and gamblers may be seedy characters but they often have hearts of gold. They have their own moral code. However, they are not the sort of people you would introduce to your favourite aunt.’
Publicity #1: Guys and Dolls
Publication: Shoreham Herald
Publication Data: March 19 issue – page 15
Reporter: Trevor Johnson
Text Header: “Broadway in the Barn”
THE ever-popular tale of Sky Masterson and Sister Sarah Brown will mark Wick Theatre Company’s 150th production.
The New York streets of Guys and Dolls will be brought to life at The Barn Theatre, Southwick, at the end of the month.
The show is based on characters penned by Damon Runyon and was first performed in the 1950s. Set against the backdrop of Broadway in the 1930s, the musical spins the tale of nice-guy gambler Sky Masterson [Chris Martin] and Sister Sarah Brown [Rosemary Brown] from the Salvation Army mission. Sky bets one of his cronies that he can take Sarah for a meal in Havana. Frank Loesser’s songs include such all-time favourites as ‘ Sit Down You’re Rocking The Boat ‘.
Director Joan Bearman said, ‘ The crap-shoots and the gamblers may be seedy characters but they often have hearts of gold. However, they are not the sort of people you would introduce to your favourite aunt. ‘ Musical directors are Eric Thompson and Patrick Johnson.
Choreography is by Trudy Nash and Jane Porter.
The Wick Theatre Company was founded in 1948 by Elizabeth Penney after members of youth group asked for drama to be included in their activities. One of the young people was Betty Dawes, one of the founder members along with her husband Ralph.
The show will run from March 30 to April 3. Tickets, costing £4, can be ordered from the box office on Brighton 597094. Tickets are selling out fast for the performances, which start at 7.45pm.
Review #1: Guys and Dolls
Publication: Shoreham Herald
Publication Data: April 8 issue – page 16
Reviewer: Alan Olieff
Text Header: “Responded to their Guys and Dolls”
A full house gave an enthusiastic response to the first night of Wick Theatre Company’s 150th production, Guys and Dolls. Such a large audience at Southwick Community Centre’s Barn Theatre gave the group the encouragement it deserved for its milestone performance.
The production of the Frank Loesser musical was very much a team effort, with some of the ‘lesser’ characters attracting almost as much attention as the lead performers. This was especially in evidence in scenes involving the Save a Soul Mission, where the fuss and chattering of a pair of the Salvationists caused a lot of merriment.
The award for the most visually expressive actor on the first night must go to Adrian Kenward. His wide-boy mannerisms and gum-chewing made an amusing caricature of his rôle of Benny Southstreet, aided and abetted by Ray Hopper as Nicely-Nicely Johnson. Christopher Martin displayed calm and wisdom as Sky Masterson, the thinking man’s gambler. His relationship with Salvationist Sarah Brown, ably played by namesake Rosemary Brown, began as the uneasy result of a bet and grew stronger as the story progressed.
Nathan Detroit [William Murray] had his work cut out trying to please his fiancée Adelaide [Rosemary Mose] and the pack of gamblers urging him to find a venue for a dice game. Nathan managed to shrug his way through, while Adelaide wavered between the long-term fiancée blues and her Betty Boop style routines at the Hot Box Night Club.
Company numbers ‘Guys and Dolls’ and ‘Sit Down, You’re Rocking the Boat’ stood out among the songs. Dancers brought plenty of colour and movement to the show, especially in the scene set in Cuba.
Applause greeted a piece of improvisation on the first night when Sky ordered waitress Judith Berrill to clear up a broken glass, accidentally knocked from the table during an enthusiastic routine.
Review #2: Guys and Dolls
Publication: Words and Music
Publication Data: May -June 1993 issue
Reviewer: Roy Goodall
Text Header: “Responded to their Guys and Dolls”
There were some very good things about this production in particular the superb costumes which were bang in-period and the tremendous depth of back-up talent in the well thought-out characterisations of all the non-lead cast and chorus. They were all ‘people’, which is suely the hall mark of a good director who impresses the need for this in early rehersals.
I loved William Murray as Nathan Detroit, with a suit so loud it hurt the eyes and all the guile, humour and warmth one schould expect from this character. His Adelaide, Rosemary Mose sang and acted well, with an exquisite wardrobe which showed her off to perfection. Sky Masterton, Christopher Martin acted sensitively and sang well (but was a little too old for this role, really?). Sarah Brown looked just right for the part, but sadly her singing voice let her down. I liked Joan Braddock’s overblown, Margaret Rutherford-style General Cartwright. Nicely-Nicely Johnson, played by Ray Hopper , was excellent and his “Sit Down You’re Rockin’ the Boat” number brought loud applause. His partner, Benny Southsteet, Adrain Kenward, never went our of character all evening – not even during the curtain-calls.
The Cafe Cubana scene was most amusing, as were the Hot Box Girls – again beautifully dressed and their “Take Back Your Mink” scene with Miss Adelaide well choreographed.
There were problems with the scene changes; I didn’t like non-acting crew moving scenery onto a new scene while actors were starting to play the scene, although I feel that keeping scenery to a bare minimum but dressing everyone well was a good ploy. The orchestra was small but effective.[/showhide]