Review: Guys and Dolls - Belfast Operatic Company

Society name: Belfast Operatic Company

Show name: Guys and Dolls

Adjudicator date of attendance: 14th May 2026

Guys and Dolls was inspired by the writings of Damon Runyon, who based his writings on his experiences and characters encountered in and around the Broadway area of the 1930’s. Inspired by the Runyon - Frank Loesser, Jo Swirling and Abe Burrows conspired to crunch together a number of short stories into what we now know as Guys’n’Dolls the Musical.

Belfast Operatic chose this musical, it appears from the programme, for the first time, and produced a fine interpretation. Belfast Operatic are blessed with the amazing Grand Opera House in which to present their shows and this alone should be an inspiration to any production. The Opera house was renovated recently in June 2021. They added a beautiful atrium to the side of the theatre which now acts as the entrance foyer and have lovingly restored the interior to a very high standard.

The first thing I noticed, after staring in wonder at the beautifully ornate décor in the theatre, was a very large orchestra pit with a very large orchestra. Aside from this being my first outing as adjudicator in the new Opera House another first for me was the presence of a sign language interpreter throughout the production.

In the Director’s chair for this production, was Kerry Rodgers. Ms. Rodgers had a very clear vision for the look of this show, it began with a gauze onto which there were gobos with various motifs of dice and cards etc., and a lone desk in front. As the overture commenced this was filled with a person seemingly typing at the desk and as the chorus entered and moved around with various newspapers with large text, it was evident this was to represent the above-mentioned Damon Runyon, who’s stories inspired the original production. Along with this behind the gauze appeared various montages with cast members giving little hints and tasters of what was to come.

Her use of dice as the main focal point of the production, as chairs, tables, stairways, and even phone holders worked really well, and I liked the consistency of the theme. Where it didn’t resonate quite so well, was in the Havana scene and in the sewer scene where along with the very distinctive markings on the floor the look was very much the same.

I didn’t like the staging of Adelaide’s “Lament”. I was confused as to whether it was supposed to be her dressing room, or the hot box, and this scene as mentioned elsewhere would have benefitted from clearer, more defined lighting restricting it to a certain area. Using the whole stage – again with the very large markings took away from any sense of place.

Ms. Rodgers work with the chorus was evident as the show took flight with very effective groupings and images throughout the production. I’m guessing there was close collaboration with the choreographer for the Havana scene, particularly in the tour of historic places in Havana. The use of the chorus here representing statues, buildings, archways etc. was very effective.

Colin Scott had charge of the above-mentioned 19-piece orchestra, and from the opening note to the last toot of the finale he was in total control. His work with a very talented group of singers was evident throughout the production, all principals sang very well, and they were supported by an orchestra which in theory should have drowned out much of the singing, but in Mr. Scotts hands they had no concerns, and along with a very efficient sound design we could hear every note of every song. Harmonies were also very clear and bravo to a very well-rehearsed chorus for their support and delivery in all the chorus numbers. A choral highlight of this production, and I suppose most productions of Guys’n’Dolls, was of course “Sit Down You’re Rockin’ the Boat”. We could hear all 4 parts distinctly throughout. However, respect is also due to the “guys” who produced a very energetic and well sung version of “Luck be a Lady”.

Timothy Bell returns again as Choreographer for this production, and he worked well with the director to deliver a very energetic and effective set of routines. Guys’n’Dolls can often get carved up into the Hot Box scenes for the dancing girls and the “Luck be a Lady” and “Sit Down” for the guys, but Mr. Bell ensured that there was as much to do for the full chorus as possible. This was evident from the start in the various scenes depicting Broadway, and in almost every number outside of the big numbers to depict the various images painted by the lyrics. Perhaps most impressive was the use of the chorus in Havana as the various sight-seeing points that Sarah was determined to see, and they added greatly to the effect. There was a very full stage for the dance number in Havana, and this was danced and moved very nicely. The crap shooters ball and Luck be a Lady were very well-staged and executed with the full company of men providing a riot of colour and energy, whilst singing very well - and this was most impressive. There was also very impressive “Hatograpghy” on display from the guys in “Good Old Reliable”, the first big chorus number and this kicked off the production nicely.

Sky Masterson was played by Dessie Havlin, and he gave a nice interpretation of the role. As with all the principals he had a singing voice that was well trained, strong and suited to the range of the various songs. “My Time of Day” was well sung, leading into the beautiful duet “I’ve Never Been in Love Before”.

Sarah Brown – Naomi Smyth – had a beautiful soprano voice and she excelled in all her songs. “I’ve Never Been in Love Before” was beautiful from both. Pretending to choke whilst drinking in “Marry the Man” was excellent. I felt there could have been more made of the drinking scene in Havana, there needed to be a few more coconuts for her to drink from. Ms. Smyth was every bit the prim and proper Sarah Brown.

Greg Fox - Nathan Detroit – yet another beautiful singing voice, a feature of this very musically talented cast. I thought his accent was a bit patchy in his opening few lines, but he warmed up quickly and maintained a good level for the remainder of the performance. Nathan took full part in the crapshooters dance as well as “Luck be a Lady” and danced very well.

Adelaide – Emiko Seawright – was a wonderful singer and had a good consistent accent throughout. I must confess I didn’t like her wig – it was poorly styled as were many of the other Hot Box girls. As mentioned above her “Lament” suffered from too much movement around the stage, but the “Lament” reprise worked better, as she remained in one place and this gave her the opportunity to tell the story.

Nicely – Conor Anderson – sang well from the beginning. His intro into “guys and dolls” song from the preceding dialogue was a bit rushed timing wise. I felt that whilst they both sang well, both Benny and Nicely were lost and at times upstaged with the various couples/activities happening around them.

Benny – Daniel Clarke. Good supporting performance from this actor and a strong contribution to both the three-hander in “Fugue” and the two-hander in the “Guys’n’Dolls” numbers. I felt that both he and Nicely could have been dressed a bit “louder” to make them stand out from the other gangsters.

Rusty – Adam Callander. The third wheel in the opening “fugue” was a strong singer and supported the other two with ease.

Brannigan – Kevin McIlhennon, had a nice consistent accent, and good costume. His early scenes with Nathan and the gamblers were well handled but I felt the entrance in the mission scene for “Sit Down” could have been handled better.

General Cartwright - Laura Kerr – was calm, poised and gave a strong and well-judged performance as the General. A cameo yes, but Ms. Kerr demonstrated confidence in her character and delivered her lines with conviction.

Arvide – Michael Bradley. “More I Cannot Wish You” is always a difficult scene and song but Mr. Bradley handled it well and sung in a gentle and appropriate manner.

Big Jule – Luke Allen – was introduced by Harry and started very twitchy but didn’t maintain this, so it was confusing to the audience what he was trying to portray. He waved (and revealed) his gun too early, and this was clearly seen by Brannigan. Timing of dialogue was rushed in places, and for me was - too jokey throughout.

Harry – James Marsden. A good supporting role from this young man, although some lines were either lost or dropped, e.g. the “buick” line was completely inaudible, and the “show me where it says that in Hoyle” completely lost.

Agatha – Emma McCourt, played with the right amount of gravitas in the mission scenes where she featured.

Joey – Rachel Halliday –adopted a good persona for this character, but I didn’t like the gun piece – it didn’t seem appropriate (looked like a red water pistol). I liked the dice as holders for the phones.

Mimi – Kathryn Aiken, timed her “looking for an earring” scene well and delivered her lines with great confidence. I loved that she found the earring in her hair!

Mistress of ceremonies – India Clements and Claire Howell, Angie - Lucas Levy and Society Max – Oliver Stevenson, were good in their supporting roles as were all the gangsters/gamblers.

The Chorus in Belfast Operatic were on show from the beginning behind the gauze with well staged montages of various scenes. Along with the principal players they sang very well, and all harmonies were clear and correct. The chorus particularly impressed in the Havana scenes, initially as the human versions of landmarks and places that Sarah wished to see, and afterwards as a full ensemble dancing in the Havana/pre-fight scene. Guys were excellent in the all-male numbers and in particular the “Crapshooters Ballet” and “Luck be a Lady” were highlights. The Ladies in the Hot Box numbers sang and danced well and both numbers were well received.

The Stage Manager was the very experienced – Andy McKnight. As mentioned above the majority of props were various sizes of dice used as tables chairs and trees, lamps etc., along with one staircase – again dressed as dice, and these were all moved on and off by the cast. There were appropriately styled chairs for the mission scenes and again these were moved by cast. There was one moment of delay between removing boxes/dice and bringing on mission furniture, but this was minor. The stairs – which was the largest piece, was moved effortlessly by cast and principals throughout the performance and as I found out afterwards there was ample room both sides of the stage to store these. The stairs disappeared for Havana, although the same dice were used as furniture, and I felt it needed something different to distinguish it from New York. Same for the sewer scene, and the “If I Were a Bell” scene - no distinction. They needed something different, particularly given the very strong and distinctive markings on the floor.

Lighting – good in “Good Old Reliable”, effective at start with gobos and images behind gauze, nice spotlight for the “jack of spades” line in the scene with Nathan and Sky. Nice feel to the lights at the end of “I’ll Know” but felt they were a bit too bright at start of the “Lament” scene, also too bright at the start of “My Time of Day”. I felt that for some of the interior scenes the use of very discreet lighting of just certain parts of the stage e.g. in “Lament” and “Interior Mission” would have added to the look.

Sound – excellent throughout with balance of orchestra and mics perfect. With such a large room, band and cast we could hear all the individual principals over the orchestra, and the harmonies were also mixed well. Good collaboration between the MD and the Sound Designer.

Makeup and wigs – I noted that there was no mention of a makeup or wig person so assume cast looked after their own. This was evident in some of the styling of the wigs and for me some were not tidy enough and of the period. Costumes – overall good, the “take back your mink” dresses looked like they had seen better days, and although I liked the “bushel” dresses, a second “reveal” to me took away from the big reveal in the “mink” scene. I wondered about men in shorts in Havana? I would also have liked a different look for the locals, maybe capri pants for some of the ladies or bolder colours. This along with the same décor, dice for tables etc. didn’t offer a different look for “Havana”. I liked the Sally Army uniforms; they fit well and were consistent. The different range of colours on display for “Luck be a Lady” scene was impressive.

Overall, this was a very enjoyable start to this new year, and a very enjoyable visit to this beautiful venue.

A society with this level of history and resources don’t need any advice from me, but for what it’s worth – and I know it’s show dependent – if there are wigs in use, they need to be of a certain standard and styled accordingly. Whilst the movement of the company in the larger chorus scenes was excellent, I felt that greater time needed to be given over to not just learning the lines, but in getting to grips with the timing of the many gags in this very funny show. There were many things to enjoy about this production, and a few tweaks here and there will almost certainly bring it to another level.

Photo credit: Belfast Operatic Company Production Photography