A friend of mine in New York calls me a repeater. No, he’s not complaining that I endlessly say the same things again and again (though I probably do that, too!), but that I like to re-visit productions more than once. It’s not, of course, possible to go back to everything you enjoy, but I’m not a “seen it, done that” kind of person. If I like something, I’ll happily go back to see it again. And again.
Last night I went to see the current West End production of Guys and Dolls for the fourth time – since it only opened last June, that’s an average of once every couple of months. I obviously went to the first night; and then went to see it one more time before Ewan McGregor departed. (I even paid for my ticket on that second occasion). Since then, I have been to see each of the replacement casts that have followed.
And although it is absolutely no hardship to see this particular musical in any incarnation – it is well nigh indestructible, and probably the most perfectly crafted musical of all time – this production has been particularly rewarding to revisit. All attention first time around was inevitably on McGregor, and although he acquitted himself creditably, there was some anxiety watching him if he would live up to the part’s demands. It’s been far easier to watch Nigel Harman and now, especially, Adam Cooper, who are both more confident singers and in Cooper’s case, naturally, a far more accomplished dancer, too.
I’ve also enjoyed following the different interpretative shades offered by the Miss Adelaide’s of Jane Krakowski, Sarah Lancashire and now Sally Ann Triplett. This is probably the most broadly written of the show’s characters, yet each have found something of her truth and vulnerability.
While Douglas Hodge, Nigel Lindsay and now Neil Morrissey have rotated through the role of Nathan Detroit, the most interesting replacement is that of Sister Sarah, where Jenna Russell’s understudy Kelly Price has been promoted into the lead. Price actually had a baptism of fire in the role when she was forced to give the very first public performance of the show when Russell fell ill, even though she’d not had understudy rehearsals yet; but a really charming, unspoilt performer has been uncovered and given her chance to shine.
