Evergreen Broadway Golden Age classic Guys and Dolls flourishes with the super-sized outdoor Handa Opera treatment, the glittering Sydney skyline a worthy stand-in for New York City itself.  

Populated with cherished characters so well known as to be practically real, musical fable Guys and Dolls brings a pair of contrasting love stories to the same happy ending, all the while recalling colourful exploits of old world New York. 

Studded with hit songs, the score by composer Frank Loesser is one of the all time greats, partnered perfectly by the delectable comedy and surprisingly intricate plotting of the book by Abe Burrows and Jo Swerling. Often revived, a production of this scale is a new approach, the material proving eminently suited to an expanded staging.

The production process for Guys and Dolls may have been slightly set back by the departure of Artistic Director Jo Davies, who was to have directed, but the troops have clearly rallied and the fully realised boffo staging is neatly integrated in all creative aspects. 

Rising to the occasion of the high profile season, fast rising director Shaun Rennie shows a confident hand in his sweeping use of the vast playing space. Intimate scenes are placed well down stage, often backed by a scenic element, effectively drawing in attention to the more characterful moments. 

Rennie generally shows full respect to the original material, with just a couple of questionable choices, such as Lieutenant Brannigan’s “wascally wabbit” speech impediment and the characterisation of visiting gambler Big Jule as a cocaine-addled nut. With the larger distance between audience and performers, not all comedy lands as it should but the central romantic charm shines through in abundance.

Vividly offsetting the book scenes are the sensational company dance numbers from choreographer Kelley Abbey. Abbey delivers thrilling dance that deftly blends period styles, characterful motivation, and good old fashioned spectacle. Using dice rather than the traditional chairs, choice 11 o’clock number “Sit Down, You’re Rockin’ The Boat” explodes off the stage, with not one but two encores, each with its own choreography. 

In a Handa Opera first, the orchestra is released from the dank, dripping underground lair and displayed in pride of place over the stage. Blessed with the inimitable gifts of musical director Guy Simpson, the 26-piece orchestra sounds superb, especially playing the bold brassy new arrangements penned by Simpson and associate musical director Jack Earle. Special mention also of the pristine quality of the ensemble vocal harmonies, especially from the men. 

Plenty of the action of Guys and Dolls actually takes place outside, making the open air setting a neat fit. Brian Thomson’s stylised scenic design centres upon a fabulously oversized yellow taxi cab, with the yellow and black motif continuing on to scattered dice, roadworks, and even the mission pamphlets and turf form guides. 

Thomson’s work is intrinsically linked to that of lighting designer Bruno Poet, who frames the stage with coloured lights around a massive ONE WAY sign. Poet transforms the stage into purples and green for the tropical Havana jaunt, capped off by a giant neon Cuba sign flown in by crane. 

Costume designer Jennifer Irwin has a keen eye for period detail as she outfits the company in vibrant Technicolor tones, like an MGM movie musical on the stage. Putting Sky Masterson in a sky blue suit is a deliciously witty touch. Hot Box costumes are glitzier than usual but this clearly fits the outsized production. 

In a highly auspicious Australian musical theatre debut, athlete/singer/songwriter Cody Simpson proves a legit leading man. Looking every bit the breezy playboy, Simpson successfully sets Sky Masterson apart from the weary New York gamblers, nailing the romance and, most importantly, singing the role with an earthy, naturally masculine edge that is a pleasure to hear.

Missionary Sister Sarah Brown may often be a rather forgettable role, but radiant star Annie Aitken absolutely dazzles in the role. Aitken sings with rich warm beauty, lands the comedy, and enjoys sparkling chemistry (yeah, chemistry) with Simpson. 

Possibly the best dancer to play Nathan Detroit in the 75 year history of Guys and Dolls, Bobby Fox is the charming heart of the production. An emotionally intelligent performer, Fox instinctively finds and conveys the perfect blend of comedy and humanity.

Looking suspiciously young to have been engaged for 14 years, Angelina Thomson  nonetheless brings sassy warmth to Miss Adelaide, proving herself a terrific dancer and talented singer. 

Having owned the title role of Hamilton for the past four years, Jason Arrow makes a terrific follow up as loveable rogue Nicely-Nicely Johnson. A sharply comedic performer capable of rapid-fire vocals, Arrow shines in the featured role, deservedly winning abundant audience acclaim as he leads the highly memorable showstopper “Sit Down, You’re Rockin’ The Boat.”

Timon to the Pumbaa of Nicely-Nicely, Joel Granger delights as Benny Southstreet, making full use of his finely honed triple threat skills. 

Amidst the boyish dancers of the male ensemble, John Xintavelonis brings an invaluable characterful maturity to outspoken gambler Harry the Horse.

Tony McGill imbues grandfatherly missionary Arvide Abernathy with an endearing twinkle. Naomi Livingston brings added humour to bloodthirsty Salvation Army leader, General Matilda B. Cartwright. 

Enjoying a very well established reputation as Australia’s premier annual arts event, Handa Opera on Sydney Harbour is a truly unique night out. Blue chip musical comedy Guys and Dolls is sure to thrill thousands of happy musical theatre fans over the coming weeks.

Guys and Dolls plays at Fleet Steps, Mrs Macquaries Point, Sydney until 20 April 2025. For tickets, click here.

Photos: #1, #2 Neil Bennett; #3, #4 Hamilton Lund; #5, #6, #7, #8 Carlita Sari