Luck was not a Lady for Footlights, who opened their production of Guys and Dolls just as Wellington went into Level 2. But our Fearless Footlighters were not to be deterred, and opening night went ahead with responsible social distancing and seated service for refreshments. A true ensemble effort.

A stripped-down show with just piano and a cast of 15 on the smaller Gryphon stage, this production is an excellent opportunity to return this story to its gritty roots: a series of picturesque short stories by Damon Runyon. Crap games played in the back of shops and in the sewers, scenes on the dirty streets of New York – this was never a glamorous setting.  

I love the democratic approach always seen in a Footlights production. Every actor on stage gives their all – there are no small parts or small performances. And in a musical with so much character, this carries the show. 

Nadia Newman and Ed Blunden as Adelaide and Nathan deliver solid comedy performances together – their duet ‘Sue Me’ is a delight.  

Emily K Brown and Marley Richards as Sarah Brown and Sky Masterson are at their best in the musical numbers, their vocals are strong and well matched.

A shout out to Aiofe Walsh for her delightfully Irish Joey Biltmore and masterful last-minute stand in performance as Big Jule, wielding a script as if it were a natural prop for a high rolling gambler from Illinois. (We hope the missing performer is okay and will get to join the cast soon)

Yes, you read correctly. This Guys and Dolls has women playing many of the male parts, and good work too. The production, directed by Michael Stebbings, is richer for this!

Stand out performances for me are Helena Savage’s Nicely Nicely Johnson and Mike Bryant’s Benny Southstreet – a pair of comedic henchmen who manage to steal the stage while also leaving plenty of room for everyone else. While ‘Sit Down You’re Rocking the Boat’ is a vocal challenge for her, Savage makes up for it in a great character performance. 

Great vocals, great harmonies in the big numbers, as always in a Footlights show.

Great choreography especially in the all-cast scenes. The Hot Box style could have done with a little less dainty footwork and a lot more burlesque raunch but it is well executed as always.

Great lighting by Devon Heaphy and timed to perfection by operator Riley Gibson.

There’s always a but though isn’t there? When all the whistles and bells are taken away – the orchestra, the fancy sets, the larger cast, then what is left needs to be absolutely on point, and what is left is the costuming. It’s great to see male characters wearing hats for sure, and braces, but why is Adelaide wearing a sloppy drop shouldered shirt, why are the showgirls of the HotBox in white lycra and ill-fitting circle skirts and frumpy aprons for ‘A Bushel and a Peck’? Why are the Cuban women wearing modern knit sundresses? Where are the jackets, the outerwear? These details are not just to satisfy nerds like me who notice, but to set characters and truly paint a time and place in which to frame the story, even when some of the patriarchal attitudes are delightfully turned on their heads. The anachronisms make it hard to stay with the story, and it is not the first time I have seen this in a Footlights production.  

Footlights is young in every respect – it is part of the appeal and we see past the casting outside of the age of characters to the strong performances. But when you have this much good stuff going on, I think it is time to step up those visual production values to complement all the other talents and strengths.

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