REVIEW: Jane Peterson Reviews Guys and Dolls at Workshop Theatre

Dames, Dice, and Plenty of Charm: Guys & Dolls at Workshop Theatre

Workshop Theatre raised the curtain Friday night on Guys & Dolls, the beloved musical comedy set against the colorful backdrop of 1950s New York, and the audience could not have been more receptive. The show traces its roots to the short stories of Damon Runyon, brought to the stage by Abe Burrows and Jo Swerling, with the irresistible score and lyrics of Frank Loesser. The production first dazzled Broadway on November 24, 1950, earning the Tony for Best Musical the following year, and later inspired a 1955 film featuring Frank Sinatra, Marlon Brando, Jean Simmons, and Vivian Blaine.

At its heart, the story follows two incorrigible gamblers who find themselves wagering on something far more unpredictable than dice — love. Sky Masterson (Evan Cook) accepts a bet from Nathan Detroit (Frank Thompson) that he can't convince straight-laced Salvation Army missionary Sarah Brown (Sara Slaughter) to join him on a spontaneous trip to Cuba. Meanwhile, Detroit is doing everything in his power to avoid walking down the aisle with his long-suffering girlfriend Adelaide (Maegen Hodges), a dancer at the Hot Spot nightclub. The two storylines weave together through a lively mix of gamblers, showgirls, Salvation Army meetings, and one memorable Cuban detour.

Workshop's production delivers a genuinely good time. The music is bright and infectious, though at times the music threatened to drown out the vocals — which is a pity, because the singing across the cast was commendably very strong.

Frank Thompson brings Nathan Detroit to life with wonderful energy, capturing the character's perpetually flustered, shifty charm as he scrambles to find a venue for his floating craps game while staying one step ahead of the law. His vocals were solid throughout, particularly in the duet Sue Me alongside Maegan Hodges, whose voice was simply outstanding. Hodges deserves real credit for holding her own in some of the more demanding passages, and her portrayal of the lovably scatterbrained nightclub performer was both sharp and thoroughly entertaining. Her turn with the Hot Box girls in A Bushel & A Peck was a genuine crowd-pleaser.

Sara Slaughter was a standout as the buttoned-up Sarah Brown, bringing a sharp comic sensibility and a wonderfully expressive face to the role. Her rendition of If I Were a Bell was a real highlight.

Evan Cook's take on Sky Masterson carried all the Brando-inflected cool the role demands — self-assured and magnetic, it's a performance well worth the price of admission on its own. His scenes opposite Slaughter were especially fun, and their duets ranked among the evening's best moments.

The gambling fraternity — George Dinsmore as Benny, Joshua Diveley as Nicely-Nicely, Davis Herndon as Harry the Horse, and Julian Deleon as Big Jule — gave the show much of its texture and flavor. Each brought something distinct to their role, and the ensemble felt cohesive and committed. The "confession" scene was another high point, and Deleon's turn as the menacing Chicago gangster was particularly fun to watch.

The ensemble featured Lisa Baker, Dylan Livingston, Sophie Legare, Caroline Leonard, Blythe Long, Abby Mathias, Ann McGaha, James Nolan, Absalom Oliver, Elizabeth Rawson, Katie Rooney, Joey Weaver, Dara Younce and Tyler Zangler, whose portrayal of the policeman added some great comedic moments.

The vocal performance of the night, for this reviewer, belonged to Rich Fisher as Arvide Abernathy, Sarah's grandfather. His solo More I Cannot Wish You was quietly moving and left a lasting impression — here is a performer worth watching. Also deserving of mention were Joshua Dively's spirited Sit Down, You're Rocking the Boat, and the entire ensemble’s rousing rendition of Luck Be a Lady Tonight.

Director Bakari Lebby kept things brisk and lively, moving the show along at a confident clip. That said, a couple of production details gave pause. A push-button pay phone appearing as a set piece was a noticeable anachronism — period-appropriate props shouldn't be difficult to source for a show so firmly rooted in its era. Similarly, one particular wig felt like an afterthought, lacking the period styling that the rest of the costumes — which were largely on point — carried off so well. On the technical side, Patrick Faulds' set and lighting design served the show admirably, Kathy Seppamaki's music direction was crisp and capable, and Katherine Brown's choreography kept the stage energized. Additional crew included Hayle Barry (assistant director), Jeni McCaughan (producer), Andie Nicks (costumes), and Adeline Huggins (stage manager).

Guys & Dolls runs through March 28th at Workshop Theatre. Tickets can be purchased online at workshoptheatreofsc.org or by calling the box office at 803-799-6551. Workshop Theatre is located on the Columbia College campus in the Cottingham Theatre, at 1301 Columbia College Drive, Columbia, SC.

Jane Turner Peterson

REVIEW: Village Square Theatre’s 12 Angry Jurors Demonstrates the Power of Diversity in the Live Theatre Experience

by Amanda McSwine with Cindi Boiter

Village Square Theatre’s current production of 12 Angry Jurors  has a storied past. Originally written by Reginald Rose as a teleplay titled Twelve Angry Men that premiered on CBS in 1954, the now well-known tale of the power and contagion of reasonable doubt was adapted as a stage play, a film, and a different stage play written by a different writer during the first decade of its life. While many viewers think of Twelve Angry Men as the 1957 film directed by Sidney Lumet featuring an ensemble cast that included Henry Fonda and Jack Warden, the loose premise of the play has inspired everything from parodies likeTwelve Angry Elvises to TV shows like Sesame Street, Murder She Wrote, and Happy Days (“12 Angry Fonzies”) that used the practice of entertaining reasonable doubt as the loose structure for a weekly episode. A 2015 star-studded, sketch parody written by Amy Schumer for her series, Inside Amy Schumer, garnered rave reviews as it debated the question of whether Schumer was “hot enough” to have her own show. Village Square Theatre’s straight production of 12 Angry Jurors is a thoughtful and inclusive update to the original that better resonates with a contemporary audience. 

The show opens in the jury room of a seemingly clear-cut murder case—so clear-cut, in fact, that before we even meet the jury, the bailiff tells the audience that the defendant “doesn’t stand a chance.” As our jurors enter, we see the intentionality of director Glenn Farr in his selection of a diverse cast. Almost any member of the audience may see themselves represented. 

As the jurors begin to deliberate, we witness a clash of perspectives and an unveiling of biases. We see how the jurors negotiate with each other—and themselves-–as their worldviews are put to the test. In this age of echo chambers and curated algorithms, 12 Angry Jurors invites us to sit with the discomfort of differing opinions.

Katie Mixon’s compelling performance as Juror #3 (played in the original film by Lee J. Cobb) captures the defensiveness, anger, and desperation that surfaces when deeply held beliefs are challenged. Charles Zuber’s heated monologue as Juror #10 (played in the film by Ed Begley, Sr.), exposes the danger of how using rhetoric that includes terms like “those people” can turn bias into blind prejudice and discrimination.

The VST ensemble included LaQuana Aldridge, Tristan Brown, Beth DeHart, Will Frierson, Pat Gagliano, Kathleen Godwin, Rae Kostal, Kyle Mason, Jeff Sigley, and Brian Teusink. And, while all of the performers give their characters life with feeling and depth, as well as diversity, there were some production elements that were lacking. While many of the costume choices supported the director’s intention to set the piece “outside the normal timestream,” a handful of accessories distracted from this illusion due to their distinct association with a specific time period. 

I appreciated the minimalist set which kept the focus on the exchanges between the jurors and the system in which they existed. But pacing was awkward at times. I would have liked for the cast to have found a smoother rhythm in order to better build tension during heated exchanges. 

Overall, Village Square Theatre’s production of 12 Angry Jurors is a timely examination of the strength it takes to stand alone in the face of overwhelming odds, and the courage it takes to put aside one's pride and change one’s mind.

12 Angry Jurors runs through February 1. An additional show has been added on Thursday, Jan. 29 to accommodate the cancellation last week due to weather. For tickets call 803-359-1436 or visit the theatre’s website online.