Review: Guys and Dolls - Dun Laoghaire MDS

Society name: Dun Laoghaire Musical and Dramatic Society 

Show name: Guys & Dolls 

Adjudicator date of attendance: 01/04/2026 

Dun Laoghaire Musical and Dramatic Society brought plenty of ambition, energy, and  affection to their production of Guys and Dolls, delivering an entertaining evening packed  with strong performances, vibrant musicality, and some genuinely memorable comic  moments. This classic musical depends heavily on pace, character relationships, and  charm, and for the most part this production succeeded in capturing the warmth and wit  that have made the show such an enduring favourite. 

Under the direction of Stephan Fagan, assisted by Rachel Bermingham, the production  embraced the comedy of the piece wholeheartedly. There was clear and thoughtful  character work throughout, particularly in the relationships between the central couples.  Adelaide and Nathan’s long and chaotic engagement felt authentic and lived-in, while the  comic partnership between Benny Southstreet and Nicely Nicely Johnson became one of  the strongest aspects of the entire production. 

A major creative decision was the framing of the show as taking place on a film set. While  ambitious, this concept ultimately felt somewhat uneven in execution. At times it  interrupted the natural rhythm and emotional flow of the original material rather than  enhancing it. In particular, the added layers surrounding Sarah and Sky occasionally  prevented their emotional journey from fully settling, as scenes were repeatedly pulled in  different stylistic directions. The challenge with conceptual productions is consistency,  and here the film-set idea appeared prominently in some scenes before disappearing  almost entirely in others. As a result, the production occasionally felt caught between two  different interpretations of the show. 

Even so, there was a great deal of strong direction on display. Blocking was consistently  effective, with excellent use of the stage space and clear attention to visual composition. 

Scenes moved smoothly, and character relationships were well established throughout.  One moment that perhaps would have benefited from greater simplicity was “Adelaide’s  Lament”, where movement elsewhere on stage distracted somewhat from Adelaide’s  emotional and comic focus. Allowing the moment to stand more independently would  have strengthened its impact even further. 

Musically, the production was extremely strong. Under the direction of Barry Power, the  band captured the rich Broadway sound of the score beautifully, with the brass section  particularly impressive throughout the evening. The band supported the performers well  without ever overwhelming them, which can often be a challenge in a score as large and energetic as this one. Vocally, the company delivered consistently strong work. Harmonies  were clear, ensemble singing was disciplined, and there was excellent energy maintained  across the performance. Some additional musical ad libs and embellishments  occasionally disrupted the natural flow of certain numbers, but overall, the score was  handled with confidence and style. One particularly interesting choice was the inclusion of  female voices in songs traditionally sung solely by men, particularly “Luck Be A Lady”. This  added richness to the overall sound and was handled very effectively without feeling  gimmicky. 

Lauren Dooley’s choreography produced some standout moments, particularly during the  superb “Crapshooters Ballet”. This sequence was one of the highlights of the evening,  featuring strong storytelling, excellent formations, and dynamic use of entrances, exits,  and stage pictures. The cast performed it with precision and commitment, creating real  excitement on stage. “Luck Be A Lady” was another particularly successful number, full of  swagger and momentum. Some choreography felt stylistically disconnected from the  world of the show. The Hot Box numbers leaned heavily into a contemporary and overtly  sensual style rather than the cheeky theatricality usually associated with the material.  While performed confidently, they occasionally sat awkwardly within the broader tone of  the production. “Havana” similarly suffered somewhat from an overabundance of  movement and stage business without enough clear narrative progression. Sarah’s emotional and physical unravelling during the sequence did not build quite as effectively  as it needed to in order for the scene’s climax to fully land. Nevertheless, the cast  approached all choreography with enthusiasm and commitment, and there was no  shortage of ambition in the movement work throughout the production. 

Meg Whyte was absolutely delightful as Miss Adelaide, delivering one of the standout  performances of the evening. She captured the essence of the character beautifully,  balancing broad comedy with vulnerability and warmth. Her comic timing was excellent  throughout, and she demonstrated a superb instinct for physical humour. The recurring  tissue gag became increasingly funny each time it appeared thanks to her complete  commitment to the joke. Vocally, she was very strong, maintaining both vocal quality and  accent consistently throughout the show. “Adelaide’s Lament” was particularly  successful, combining excellent storytelling with genuine humour while never losing sight  of the humanity within the character. Her scenes with Nathan felt affectionate, believable,  and wonderfully familiar. 

Dale Ayers gave a very strong performance as Nathan Detroit. He fully embraced Nathan’s  anxious, permanently stressed personality while still maintaining charm and warmth. His  chemistry with Meg Whyte was one of the production’s greatest strengths, and together  they created a relationship that felt entirely authentic. He also worked extremely well  within the wider ensemble dynamic, particularly in scenes with Nicely Nicely and Benny.  His characterisation was detailed and consistent, and vocally he handled the role with  confidence. 

Máirín Hayes brought sincerity and grace to Sarah Brown. Her soprano voice had a  beautiful legit quality that suited the score perfectly, and her vocal work throughout the  evening was controlled and expressive. Sarah can sometimes feel overly earnest as a  character, but here she came across as genuine and relatable. Her early interactions with  Sky were full of believable awkwardness and humour, and “If I Were A Bell” was one of her  strongest moments. Her portrayal of drunkenness was extremely well judged, remaining  truthful and funny without slipping into exaggeration.

John Higgins delivered a confident and mature performance as Sky Masterson. He brought  easy charm and relaxed charisma to the role, and there was an effortless quality to both  his singing and acting. Vocally, he possessed a very appealing tenor voice and handled the  score with ease. Most impressive was the emotional maturity of the performance. He  allowed Sky’s journey to develop gradually and convincingly, particularly in his growing  feelings for Sarah. 

Andrew Roche and Eoghan Funge were an absolute triumph as Nicely Nicely Johnson and  Benny Southstreet. Their chemistry, comic timing, physicality, and vocal reactions aligned  perfectly, creating one of the strongest comic duos of the evening. Every interaction felt  spontaneous while remaining tightly rehearsed, and they injected enormous energy into  every scene they entered. Their work together was consistently hilarious without ever  becoming overplayed. 

Kate Canavan gave an enjoyable and spirited performance as Harry the Horse, capturing  both the toughness and humour of the character well. Her accent work was particularly  strong, and she played effectively opposite Conor Johnston’s Big Jule. Conor  demonstrated good character instincts and strong physicality, though the performance  occasionally felt tentative. Greater confidence in lifting the eyeline and projecting energy  outward toward the audience would have strengthened the character’s intimidation and  bravado considerably. However, the foundations of the role were solid, and his scenes  worked well overall. 

Marlene Connolly brought warmth and sincerity to Arvide Abernathy, creating a believable  and affectionate relationship with Sarah. Jim Ryan made a lovely impression as General  Cartwright, with a smooth and pleasant vocal quality that suited the role beautifully. John  Paul Coakley captured Lt. Brannigan’s constant frustration very effectively and brought  strong physical energy to the role, though slightly more consistent eyeline work would have  helped strengthen his authority on stage. Mikey Deasy also made a strong contribution as  Rusty Charlie, delivering his section of “Fugue for a Tin Horn” with confidence and strong  vocal ability.

The ensemble worked extremely hard throughout the production and contributed  enormously to its success. Vocally they were consistently impressive, producing a full and  energetic sound across the evening. “Sit Down You’re Rockin’ The Boat” became a major  highlight, with clear harmonies, excellent energy, and a genuinely infectious sense of fun  that clearly delighted the audience. While there was naturally some variation in movement  ability across a large cast, all choreography was performed with commitment and  enthusiasm. Importantly, the ensemble maintained strong characterisation throughout  and contributed greatly to the bustling atmosphere of the show. 

Visually, the production offered some striking moments alongside areas that would benefit  from greater consistency. The set design tied heavily into the film-set concept, though  because the concept itself never fully settled, the visual world occasionally felt caught  between two styles. The illuminated sign at the rear of the stage was particularly effective,  and the overall finish quality of the scenery was strong. However, the printed film posters  on the wing flats were somewhat distracting due to their bright colouring. The simplicity of  the staging allowed scene changes to move relatively efficiently, though some transitions  could have been choreographed more tightly to improve pace. 

Stage management by Clare MacEntee was generally smooth, with cast members handling  scene changes effectively for the most part. One element that occasionally disrupted the  storytelling was using Salvation Army members to move Hot Box furniture. Integrating  these transitions more fully into the film-set concept through costume or staging choices  may have strengthened cohesion. 

Lighting created several beautiful stage pictures, particularly during “Crapshooters Ballet”  and the final image of Act One, though there were also some inconsistencies in coverage.  A noticeable dip in face lighting at centre stage occasionally distracted from the action,  and the lack of strong upstage lighting created uneven visual focus as performers moved  around the stage. Some lighting choices, particularly during “Marry the Man Today”, also  weakened moments that should have felt visually unified.

Sound overall was well balanced for the venue. The band never overwhelmed the singers,  and while a few cues were missed and some principals were occasionally lost in larger  ensemble moments, the overall mix remained controlled and pleasant throughout. 

Costuming featured many strong elements, particularly the Hot Box costumes, which  looked vibrant and suited the energy of those scenes very well. However, some smaller  detail issues reduced the overall polish of the visual presentation. Loose ties, inconsistent  styling, and untidy costume details distracted from what was otherwise a well-considered  wardrobe design. There was also some confusion surrounding the female performers in  suits, as it was unclear whether they were intended to represent male characters or  women in masculine-inspired clothing. Greater consistency would have clarified the visual  storytelling. Hair and wigs also varied in polish. Some hairstyles appeared untidy, and  while the wigs themselves were generally good quality, retaining the Hot Box wigs during  “Crapshooters Ballet” created practical issues with hat fitting that became visually  distracting. 

Before the performance even began, the audience was welcomed into a warm and friendly  atmosphere. Front of House operations were efficient and inviting, helping establish a  positive tone for the evening. Seating was handled smoothly, and there was a genuine  sense of excitement and anticipation within the auditorium that reflected the enthusiasm  surrounding the production. 

Ultimately, this production of Guys and Dolls showcased a company with enormous  enthusiasm, strong musicality, and a clear love of performance. While some conceptual  and visual inconsistencies prevented the production from feeling entirely cohesive, there  was still a tremendous amount to admire, particularly in the quality of the principal  performances, the energy of the ensemble, and the strength of the musical execution.  Most importantly, the audience left thoroughly entertained, which lies at the very heart of  what makes this classic musical continue to endure.