Guys and Dolls
As directed by Stafford Arima, this mounting of Guys and Dolls is more than a little reminiscent of the highly successful 1992 Broadway revival, which was helmed by Jerry Zaks. Arima has used Tony Walton's sets (as designed for the national tour), the same style of costumes (only a costume coordinator, Randall Klein, is credited in the program), and a number of the musical alterations that were made for the '92 version (mostly in terms of the new dance music, provided by Mark Hummel).
Retaining the look of the Zaks revival was perhaps a mistake, as it's not supported very well here. The sets and costumes are of the Technicolor cartoon variety, real but unreal, yet Arima's production can't find the zany, breathless energy needed to make that concept work. Much of the acting and staging is low-key and the choreography (by Patricia Wilcox) is underpowered; this production's "Runyonland" opening is the first truly boring interpretation of the number that I've ever seen. As for the musical direction (by Tom Helm at the performance I saw, although Vicki Carter will handle the remainder of the run through July 18), it had such a sluggish pace and feel as to make the 1996 JAY recording of the complete score sound caffeinated.
Even so, this Guys and Dolls is entertaining because the musical itself is so strong. The competing love stories of (1) gambler Sky Masterson and Salvation Army worker Sarah Brown (Robert Cuccioli and Kate Baldwin) and (2) Nathan Detroit, impresario of the "oldest established permanent floating crap game in New York," and his 14-year fiancée Adelaide (Michael Mastro and Karen Ziemba) still come through brilliantly. Tales with a "bad guy gets reformed by good girl" sensibility always seem to be in style, and that subject has never been handled in a funnier, more musically astute way than it is in this show.
Of course, they and the rest of the cast have the benefit of singing one of the musical theater's finest scores, including wonderful romantic duets such as "I'll Know" and "I've Never Been in Love Before" (both for Sarah and Sky) and the still-hilarious "Adelaide's Lament" (in which she nurses a cold that she's had, not coincidentally, for as long as she's been engaged). Other highlights are Sky's exciting "Luck Be a Lady," the zippy title song, and the mock-revival showstopper "Sit Down, You're Rocking the Boat." The latter two numbers and the "Fugue for Tinhorns") are led by Robert Creighton: He's energetic as Nicely-Nicely Johnson (the role originated onstage by Stubby Kaye), tapping into the character's cartoonish qualities in a way that most of the other performers don't quite manage. Tia Speros, as the Salvation Army's General Cartwright, is another standout.