"Guys and Dolls' revived on Broadway

As one of its many recent belt-tightening measures, the insolvent Inquirer has decided to discontinue New York theater reviews, many of which I write. So Dan Rottenberg (who has no debts and infinite space) promptly invited me to write about Broadway at Broad Street Review. This strikes me as good journalistic sense: Every year Philadelphians purchase about 800,000 tickets to Broadway shows (not counting all the Off-Broadway shows). So, although I'll continue to write about local theater in the Inquirer, I'm delighted to be able to continue our conversation about New York— an essential part of theater-going for theater-lovers everywhere.

And how appropriate to begin with that New Yorkiest of shows, Guys and Dolls, which takes place in old Times Square, and is performed in new Times Square. Next week I'll review the new Moises Kaufman play, 33 Variations, starring Jane Fonda in her return to Broadway after 46 years. And the curtain rises….

Since Guys and Dolls opened in 1950 (when it ran for 1,201 performances), this "Musical Fable of Broadway," as it was billed, has been an irresistible show, with great music, brilliant lyrics, lovable characters and that nifty Damon Runyon-speak. It has been revived and revived— on Broadway, in regional theaters and community theaters, in high schools and universities. It's indestructible.

And here it is again— enjoyable but oddly disappointing: kind of flat, kind of oomph-deficient, a little lacking. Or, as Nathan Detroit would say, the dolls are terrific, pretty much 100% in every respect, but the guys, who are by no means not good, are, by the same token, by no means great.

Occasions aplenty for song

So here's the situation: Harry the Horse, having acquired 5,000 potatoes collecting the reward on his father, makes it highly crucial that good old reliable Nathan Detroit find a location for "the oldest established permanent floating crap game in New York." Sky Masterson blows into town. Big Jule, too. Where's the action? Under director Des McAnuff, it's everywhere and nowhere; this is a very busy, gaudy production, without a human center.

The gambling plot and the love plot meet when Sky Masterson (Craig Bierko of the romantic blue eyes and wobbly singing voice) bets Nathan Detroit (Oliver Platt as deadpan sadsack) that he can take Sarah (the lovely-voiced Kate Jennings Grant) to Havana. She's a refined do-gooder who works for the Salvation Army mission. This same bet will eventually force Nathan Detroit to finally marry showgirl Adelaide (Lauren Graham), after a 14-year engagement.

The break-ups and the make-ups, the crap game in the sewer, the sinners testifying at midnight prayer meetings, the cops, the strippers, the drinks, the guns, the subways, the glittering Broadway marquees— all are occasions for song. And what songs they are: "Luck Be A Lady," "Sit Down, You're Rockin' the Boat" (which really didn't need that big gospel/rock finale to juice it up), "Marry the Man Today," and the gorgeous love songs: "I've Never Been in Love Before" and "I'll Know."

Only Adelaide gets it right

Runyon's stories inspired this now-classic musical, and one of the production's disappointments is that too few of the characters speak Runyonese. Only Lauren Graham as Adelaide gets it, and, although not the romantic lead, she walks away with the show (so much so that the curtain call is organized to give her the star spot— last bow, loudest applause). Graham is making her Broadway debut (she is best known as Lorelei in TV's "Gilmore Girls"), and does right by the show's funniest songs ("Adelaide's Lament," aka "A Person Could Develop a Cold," and "Take Back Your Mink").

In his one song, "Sue Me," Oliver Platt gets both the inflection and pronunciation of "So, nu?" wrong (these are Jewish gangsters), and Tituss Burgess as Nicely-Nicely has a mannered, prissy speech pattern that sounds neither Runyonesque nor New York. The addition of a Damon Runyon figure typing the story we're watching seems pointless— one of those good ideas that went nowhere.

Outstanding in smaller roles are Steve Rosen as Benny Southstreet and Mary Testa as General Cartwright. The Hot Box Girls are sensational dancers, but the men have too much shoulder-shaking, self-conscious choreography to cope with, especially in "The Crapshooters' Dance." The set is clever if excessive, and the 1930s costumes beautiful. And despite the production's mild disappointments, Guys and Dolls is always fun.