Review: Guys and Dolls - Ballywillan Drama Group

Society name: Ballywillan Drama Group

Show name: Guys and Dolls

Date of attendance: 30^th January 2026

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My second trip north to Coleraine this season and another most enjoyable evening of musical theatre. This production of ‘Guys and Dolls’ marked a major milestone for Ballywillan Drama Group, as it was their first show staged in Coleraine Leisure Centre following the closure of their long-established home at the Riverside Theatre.

Perhaps the greatest risk taken by the production was the decision to relocate Damon Runyon’s colourful world into a modern setting. On paper, this felt like a gamble that could have undermined the charm of this classic show. However, the concept was so thoughtfully developed and so cleverly integrated into the storytelling that my initial scepticism was short-lived. It was an original interpretation that was most refreshing and highly entertaining; a fitting debut in this wonderful new theatrical space.

Front of house was an immersive experience in itself, immediately drawing the audience into the world of the show. There was fabulous attention to detail throughout the foyer, with themed décor, Mindy’s Café selling refreshments and production photographs beautifully displayed. The pièce de résistance, however, was the incredible cabaret staged front of house during the interval. This was an exciting addition, transforming the break into a performance moment in its own right. It was a wonderfully classy touch that complemented the production so well.

Brian Logan’s direction was brave and bold. His decision to set the show in the modern day required clear vision and careful thought. That confidence was evident from the outset in the opening Runyonland sequence, as the stage came to life with familiar characters. The Naked Cowboy strummed his guitar, while modern-day tourists, a juggling clown, joggers, shoppers, and charity collectors created a vivid and recognisable street scene. The clever integration of exceptionally designed graphics on the enormous LED video wall left no doubt as to where the action was taking place and, just as importantly, when it was happening. Pace was exceptional throughout the show. I loved the superbly reimagined crap game set in a rundown theatre as a clever nod to the closed Riverside Theatre. That sequence, in particular, was outstanding. It was fast, precise and so well-rehearsed, reflecting Mr. Logan’s meticulous attention to detail that underpinned the entire production.

Musical Director Andrew Robinson was tasked with bringing Frank Loesser’s sumptuous score to life. Under his direction, an impressive eleven-piece orchestra delivered a confident and stylish performance, with Mr. Robinson himself playing piano. At times, there did feel to be scope for more bass in the overall mix, which might have added extra weight and drive to some of the numbers. Vocally, the production was extremely strong. Principal vocals were excellent, with confident delivery and clear musical storytelling throughout. The choral singing was superb, particularly from the male chorus, who sounded terrific. ‘Fugue for Tinhorns’ was sung with real vocal strength from all three talented performers. At times, however, the dynamics between the three lines felt unbalanced, with all voices operating at full intensity simultaneously. This was a minor point, however, in what was otherwise a very accomplished and polished musical presentation.

Choreography was a collaboration between Laura Fisher and Sharon Logan, who worked with a cast of varying dance abilities and, for the most part, achieved strong results. They pitched numbers very well within those abilities and were always conscious of the storytelling. I felt that ‘A Bushel and a Peck’, while generally together and cleanly staged, would have benefited from greater confidence and attack from the showgirls. ‘Guys and Dolls’ was imaginatively staged, with each group springing into life in response to the lyrics. The Havana (Los Cabos) sequence, traditionally a huge burst of colour, energy, and exuberance, did not quite reach its usual impact. The decision to begin the number with a single dancing couple resulted in a quieter opening than the music demands.

The omission of the ‘Crapshooters Ballet’, arguably one of the most iconic dance sequences in the show, was disappointing. ‘Luck Be a Lady’ featured simple but effective choreography, elevated by strong collective effort and conviction from the men. ‘Sit Down You’re Rockin’ the Boat’ was a standout, brilliantly conceived, confidently performed and very well-rehearsed. 

Alan McClarty delivered an astonishingly good performance as Nathan Detroit, one that felt thoroughly professional from start to finish. It was a performance that was polished, confident and consistently funny throughout. From his first appearance, he captured Nathan’s restless energy and constant scheming with ease. Mr. McClarty immediately set a high bar for the rest of the cast. His sense of pace was superb throughout, driving scenes forward with momentum and purpose. Comic timing was razor sharp, and he held the audience in the palm of his hand, knowing exactly when to push the comedy and when to let it breathe. Nathan is not a vocally challenging role, however, Mr. McClarty had a fine singing voice, most notably in ‘Sue Me’. 

Laura Fisher took on the role of Adelaide, one of musical theatre’s most iconic female comedy characters, and brought many strengths to the performance. Vocally, she was excellent, with ‘A Bushel and a Peck’ superbly sung and delivered with confidence and control. ‘Adelaide's Lament’ was also very well sung. Lines such as “Tell him I never want to talk to him again… and have him call me here!” were perfectly delivered, with excellent timing and instinctive comic rhythm. Her reprise of ‘Adelaide’s Lament’ was beautifully heartfelt and genuinely poignant, revealing a touching vulnerability. There was also wonderful comic intent in her scene with Nathan before ‘Sue Me’, and in the number itself she really let go, showing true comic flair and confidence. 

Adam Goudy was a very cool and assured Sky Masterson. His acting was exceptionally strong and he was always in tune with the narrative throughout. Mr. Goudy had a confident command of dialogue, rhythm, and pace. He drove scenes forward with ease, most notably in the abandoned theatre sequence, where his control of tempo and intent helped to drive the action and maintain momentum. Vocally, Mr. Goudy brought a beautifully rich and expressive baritone to the role. ‘I've Never Been in Love Before’ was beautifully sung, with sensitivity and warmth, displaying an emotional side that contrasted nicely with Sky’s outward confidence. Throughout the show, his vocal work was consistently strong and well supported. This was very evident in ‘Luck Be a Lady’, which was a standout musical number. 

Clare Campbell delivered an excellent performance as Sarah Brown, with superb command of dialogue and great clarity. Every word made sense, and it was clear that much thought had gone into the text. Ms. Campbell brought a beautifully expressive soprano to the role, with exceptional tone and emotional nuance. Her voice was at its best in ‘I'll Know’ and ‘I've Never Been in Love Before’, both of which were sung with sensitivity, control, and excellent storytelling. Her work in the Los Cabos sequences showed a different and equally impressive side to the character. The catfight was brilliantly performed and she proved to be a very funny and entirely believable drunk. 

Patrick Connor was very impressive in the role of Nicely Nicely Johnson, giving a performance full of character and sharp comic instinct. He was an excellent character actor, with superb comic timing and a natural sense of comedic physicality that never felt forced or overplayed. ‘Sit Down You're Rockin' the Boat’ was sensationally performed and was unquestionably the best number of the night. His vocals were full of character and control, combining strong musicality with his flair for storytelling. 

Steve Setterfield gave another very skilled performance as Benny Southstreet, bringing intelligence and humour to the role. His comic choices were sharp and well judged. He worked particularly well with Mr. Connor, bouncing off him effortlessly. The rapport between the two performers was excellent. Mr. Setterfield was also very strong in the vocal department. Combined with his acting skill and comic awareness, this helped Mr. Setterfield deliver a very memorable portrayal.

Paul Sleet was very strong in the role of the hard-nosed Lieutenant Brannigan, delivering a suitably authoritative performance. Another good character actor, he projected control and confidence whenever he appeared on stage, his presence in stark contrast to the silliness around him. Mr. Sleet’s delivery was very impressive, with excellent diction and dialogue that was always delivered with purpose and precision. It was a very solid, well-judged performance that supported the narrative throughout with a no-nonsense delivery and a light comic touch. 

Harry Stinson’s performance as Arvide was a standout portrayal, for me. His clear understanding of the narrative was reflected in his clever delivery throughout. His beautiful performance of ‘More I Cannot Wish You’ was one of the most memorable moments of the show. The genuine warmth and gorgeous connection with Sarah was heartwarming. A superb performance.

Jim Everett gave an excellent cameo performance as Harry the Horse, making a strong impression despite limited stage time. He displayed superb comic timing, judging pauses and delivery with real confidence and instinct. His offer to lend Nathan his getaway car was particularly funny, landing perfectly with the audience. 

Stevie Black was an imposing presence as Chicago “scout leader” Big Jule, combining genuine menace with a strong comic edge. He struck an excellent balance between intimidation and humour. His gravelly delivery of “which nobody can deny” was particularly funny, landing with deadpan precision. 

Una Culkin was an excellent General Cartwright, bringing authority and strength to the role from the moment she appeared on stage. She was a very strong actress, commanding attention with a very confident delivery. and a clear sense of purpose, which grounded the character and gave weight to her scenes. She also showed a terrific comic side, particularly in her wonderfully funny dance with Nicely as she lost herself in the euphoria of ‘Sit Down You're Rockin' the Boat’. 

Tom Waddell enjoyed his moment as mechanic Joey Biltmore. It was a strong turn, in spite of a momentary lapse where he thought he was talking to himself!

Greg Edwards was a charismatic Hot Box MC and I loved his integration into the bows as he introduced each group and principal performers. This was a really nice touch.

The ensemble was generally strong throughout the production and added greatly to the overall energy of the show. The opening Runyonland sequence, in particular, gave them the opportunity to inhabit an eclectic mix of characters, from the Naked Cowboy to juggling clowns and modern-day tourists. The Hot Box girls brought good energy to their scenes, although the numbers would have benefited from a stronger sense of confidence and a more performative style that these showgirls require. There was excellent ensemble commitment in ‘Guys and Dolls’, as each group came to life. Strong ensemble work continued in the mission scene and carried through into the superb ‘Sit Down You're Rockin' the Boat’, where the cast fully lost themselves in the joy and spirit of the performance. 

David Wray and his stage crew did sterling work throughout the production, delivering an impressively slick and well-coordinated operation. Crew movement was precise and efficient, with transitions handled smoothly and confidently, ensuring the show maintained its strong sense of pace. The level of organisation and communication showed thorough preparation and clear leadership from the stage manager. ‘Guys and Dolls’ is a particularly challenging show to manage, given the frequent transitions in and out of the mission and the need to shift locations quickly without disrupting the flow. Overall, stage management was of a very high standard and played an important role in the success of the production.

The set design was large in scale, making full use of the large performance area available in the venue. Three platforms formed the backbone of the staging, offering flexibility and varied playing levels. These platforms were used intelligently throughout. The LED video wall was central to the design. Its graphics were sharp, vibrant, and exceptionally well chosen, establishing location and time while supporting the modern-day concept of the production.

Smaller scenic elements were used very effectively. The mission scene was clearly defined with excellent furniture and dressing and the Hot Box benefited from striking, light up lettering which was a clever touch. Another inspired design choice was the relocation of the crap game to an abandoned theatre space, a clever nod to the closed Riverside Theatre. The trucked pieces for this scene added greatly to the visual and the tongue-in-cheek reference to the group’s former venue. 

The lighting design did a very good job overall, delivering some beautifully atmospheric work that supported both the storytelling as well as the modern setting of the production. ‘I’ll Know’ looked particularly well, with breakup gobos adding texture and depth that enhanced the intimacy and mood of the scene. The use of two follow spots here was especially effective. There was also some very imaginative lighting work in ‘A Bushel and a Peck’, where moving lights were used to create a more stylised, theatrical state appropriate to the show-within-a-show setting. The lighting for the Los Cabos fight sequence was well judged, reflecting the chaotic onstage action with a busy, aggressive quality that mirrored the confusion of the scene effectively. 

Sound design and operation were excellent throughout the production, contributing significantly to the overall technical polish of the show. There was a consistently strong balance within the band. While some of the heavier numbers would have benefited from a little more bass presence to add extra weight and drive, this was a minor consideration within an otherwise impressive orchestral mix. The balance between band and vocalists was superb. There were some nicely chosen sound effects, all of which were well timed and integrated smoothly into the action. 

The modernised setting required a shift from the norm in terms of props, and this was handled with confidence by the props team. Props added greatly to the contemporary take, leaving us in no doubt that the production was set firmly in the present day. The Naked Cowboy’s guitar proved vital in preserving his modesty while also serving as a strong visual gag. In the opening Runyonland sequence, a wide array of appropriate modern props added great realism. The mission was especially striking in its updated appearance. Modern furniture, an electric keyboard and a laptop blended with the mission’s signage, creating a believable, contemporary environment. The Hot Box tables were attractively dressed, complete with candles that added to the atmosphere. Props for the “kitchen shower” sequence were perfectly chosen, adding to the humour to the scene. 

The costume design continued the contemporary vision established elsewhere in the production. It was a very clever overall concept. Traditional elements such as trilby hats and tailored jackets were there, but these were often paired with T-shirts, braces, and more contemporary trousers and footwear. The balance between old and new really worked, especially for the gamblers, whose costumes kept their iconic shape but felt very current. The Hot Box numbers were especially striking. The ‘A Bushel and a Peck’ cowgirl look was sassy and stylish, with black and silver costumes that added glamour. The girls’ long blue dresses that ripped away to reveal blue basques were very classy. The Salvation Army uniforms also worked very well, with a contemporary feel. 

Hair and make-up were well handled, with nothing standing out for the wrong reasons or appearing out of place within the modern setting. The overall look was clean, consistent, and appropriate to character. There was particularly good attention to detail for the Hot Box girls, whose hair and make-up reflected the glamorous nature of their professions. In contrast, the Salvation Army performers were presented in more muted tones, far from the glitz and glamour of the Hot Box. Overall, hair and make-up contributed to what was a very impressive visual presentation.

This production of ‘Guys and Dolls’ was a bold and imaginative piece of theatre that demonstrated what can be achieved when strong creative vision is matched by careful execution. The decision to modernise the setting was thoughtfully realised, resulting in a version of the show that felt fresh while remaining true to its spirit. Principal performances were exceptionally strong, with great strength in depth throughout the cast. Much credit is due to the technical team who transformed an unconventional venue into a fully realised theatrical space. Ballywillan Drama Group should be immensely proud of a production that not only met a significant challenge head-on but delivered a memorable, engaging, and thoroughly entertaining night of musical theatre.

Pat McElwain

Sullivan Adjudicator 2025/2026