Notes from the Director
Guys and Dolls is one of my favorite musicals. I have come to know this show over many productions, both on the stage and in the audience, and still the songs and the story retain their charm. And because I so value the importance of sharing a classic to a fresh audience, I will ask that if you do not yet know this story, set aside my notes for now, and come back to the rest of it after the final curtain. Or, if I might paraphrase a piece of contemporary pop culture, caution: spoilers ahead.
To me, the essential quality of Guys and Dolls is one of wholesomeness. True, the gambling is illegal, but the gamblers are lovable, and in the end, they give it up for their dolls. Even true criminals like Harry the Horse and Big Jule prove to be redeemable through the magic of Nicely’s show-stopping testimonial. If we have done our jobs right, it will at times be funny, and at times heartbreaking, but it is neither a comedy nor a tragedy. Rather, I feel it is a love-letter to love itself, to the warm and steady love Sarah envisions for herself, to the keenly immediate love Sky describes, crackling with chemistry. And, of course, to the tumultuous and frustrated love between Nathan and Adelaide: like so many couples, they’re sure of their feelings, but after that, the points of agreement are few.
Those of you particularly familiar with Guys and Dolls might notice a few small changes in our production, notably in the Havana and Runyonland sequences. Wherever possible, I took the extended dances and pantomimes and tried to turn them into vehicles for continued storytelling, helping to fill in the gaps in the script and bring a greater richness to the characters.
I would be remiss without taking some time to publicly thank a few of the people who have worked tirelessly to make this show a reality. Thank you to Peter Suzuki, who brought his carpentry skills to bear on the set, and who didn’t flinch when I described the set demands I’d envisioned. Thank you to Brian Austin, who jumped into fire to help with one of the most temperamental and thankless jobs as sound engineer. Thank you to Sheryl Farrell, who designed and coordinated our many costumes. Thank you to our producer Brittany Slingerland, without whose work behind the scenes we’d never have even seen a script. Of course, many thanks to our music director Amy Kimbler, who not only made this glorious score shine, but who has been my right hand and confidant and co-director in as many ways as a show has need for direction. And finally, to the many parents and guardians who selflessly sacrificed evenings and afternoons and Saturdays and more to support this fabulous cast.
