Wednesday, June 23, 2004
By C.J. Gianakaris
Special to the Gazette

AUGUSTA -- For its 2004 staging of Frank Loesser's hugely entertaining 1950 musical "Guys and Dolls," the Barn Theatre in Augusta stacks the deck, casting all the principal roles with top talent. The result is theater overflowing with exceptional singing and acting.

For starters, Broadway and television star Tom Wopat makes one of his much-anticipated visits to the Barn, offering a tour de force rendering of the inveterate gambler Sky Masterson, the central figure in Abe Burrows and Jo Swerling's colorful love story. The seasoned performer makes full use of his booming baritone and virile demeanor to define Sky's character firmly. At the same time he reinforces the show's underlying theme life means taking chances with -- and betting on -- people.

(Wopat performs through June 27; Adrian Zmed takes over the role beginning June 29.)

Wopat's early numbers, including "I'll Know," "My Time of Day" and "I've Never Been in Love Before," are handsomely sung with big-league projection, true pitch and secure interpretation. The numbers are mostly duets with his character's love interest missionary Sarah Brown, marvelously played and sung by Danyelle Bossardet. With the monumental production number "Luck Be a Lady" near the end, Wopat gives full and thrilling evidence of the musical star he has become.

To offer a more comprehensive picture, though, director and choreographer Charlie Misovye surrounds Wopat with strong performances by Barn stalwarts Brooke Evans (Adelaide), Scott Burkell (Nicely-Nicely), Eric Parker (Benny), Howard McBride (Arvide Abernathy), Dusty Reeds (General Cartwright) and Joe Aiello (Nathan Detroit). Each actor sings at least one show-stopping number during the evening to remind the audience why "Guys and Dolls" remains one of America's greatest musicals.

Aiello -- playing Joe Aiello playing Nathan Detroit -- at times lards on shtick too thickly. Still, his ensemble singing in "The Oldest Established Permanent Floating Crap Game," "Guys and Dolls" and "Sue Me" is effective and pleasing. In those same ensembles, Parker and Burkell join to create terrifically energetic singing. Burkell, moreover, is inspired in "Sit Down, You're Rockin' the Boat."

One of the most consummate performances is given by Evans as Adelaide. Her acting is rock-solid throughout, while her singing of "A Bushel and a Peck," "Adelaide's Lament," "Take Back Your Mink" and "Marry the Man Today" is very fine. Bossardet also sings gloriously in "I'll Know," "If I Were a Bell," "I've Never Been in Love Before" and, with Evans, "Marry the Man Today."

Dusty Reeds' set designs are not elaborate but effective and simple to change. Costumes by Goulet Bartholomew are colorful, attractive and well-fitted to the performers. Misovye's dance choreography works well on the tight stage, particularly in numbers such as "The Oldest Established" and "The Crapshooter's Dance." Musical director Steven Zumbrun on piano leads seven other instrumentalists in the pit. Their sound was not always properly blended or balanced on opening night, although pitch never was a problem.

"Guys and Dolls" has earned its prestigious reputation legitimately as a song-filled romantic comedy, and the Barn's well-cast production does it full justice.

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Wopat's star power, strong cast make Barn's 'Guys and Dolls' a must-see

The Grand Rapids Press
Wednesday, June 23, 2004
By Sue Merrell

It's not much of a gamble to say "Guys and Dolls" with Tom Wopat is a sure winner for Augusta's Barn Theatre.

Wopat, who closed "Chicago" on Broadway less than a week ago, stumbled over a few lines in Tuesday's opening of "Guys and Dolls," but his smooth baritone and wry smile captured the audience right along with the leading lady.

And the snappy Frank Loesser tunes from this 1950 musical had the packed house of about 500 clapping along to the beat.

Tickets for the first week are selling so well an extra show has been added before Wopat heads back to the East Coast and is replaced by Adrian Zmed in the second week of the run.

But this is very much an ensemble show with several strong performances, a few well-choreographed numbers to get all the acting interns on stage and even a couple of spotlight appearances by Barn staffers.

Based on two short stories by Damon Runyon, "Guys and Dolls" tells two love stories set amid New York's petty rackets and nightclub crowds.

Smooth gambler Sky Masterson (Wopat) bets $1,000 he can convince Sarah Brown, the straightlaced leader of the local mission, to accompany him to Cuba for dinner. She agrees when he promises to deliver a dozen sinners for a prayer meeting.

As the icy Sarah, Danyelle Bossardet employs a fine operatic soprano for "I'll Know," but after an evening of Latin drinks and dancing in Cuba, she lets her hair down and softens her vocal delivery for "If I Were a Bell."

Meanwhile Nathan Detroit (Joe Aiello) is trying to find a home for the city's oldest floating crap game, while hiding his involvement from Miss Adelaide (Brooke Evans), his fiance of 14 years.

Aiello creates a wonderfully sniveling Nathan, with expressive, physical comedy. Tall, graceful Evans is a commanding presence, with a squeaky Brooklyn accent and facial expressions reminiscent of Lucille Ball. But she also delivers a powerful "Adelaide's Lament."

The couple's comedy reaches its peak in "Sue Me" when both hold a note to symbolize their argument. This is typical of a hold-nothing-back singing style used throughout the show.

Other Barn regulars -- Scott Burkell, Eric Parker and Roy Brown -- deliver good cameos as gamblers, with Burkell leading one of the best-known songs in the show, "Sit Down, You're Rockin' the Boat."

Howard McBride takes a nice turn as the Irish-accented Arvide Abernathy, singing the sweet "More I Cannot Wish You."

A painted scene on an inter-act curtain allowed for speedy scene changes, but the show still ran more than two and a half hours opening night. One scene in the sewer under the city had actors entering down a long ladder, which seemed unsteady and was a distraction. The opening scene, a wordless introduction to the assorted characters of the city, seemed too long and redundant, with pickpockets who need a lot more practice.

But as he has before, Wopat, one of the Barn's "favorite sons," adds the crowning touch of warmth and richness that makes this show a must-see event.

© 2004 Grand Rapids Press. Used with permission

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'Guys and Dolls' a Barn winner

Kalamazoo Gazette
Thursday, June 24, 2004
By Marcia Fulmer
Entertainment Editor

AUGUSTA, Mich. -- Next to "The Sound of Music," "Guys and Dolls" must be THE favorite musical of choice for almost every high school in the country.

There is a reason for that. The Frank Loesser musical has a score that never lets go and a final script by Abe Burrows full of classic lines that, no matter how many times you've heard them, are always funny.

Well, high schools aside, there's nothing better than settling back to enjoy a really solid production of this show, which has a combined Broadway run (three productions -- original, revival and one all-black revival) of more than 2,600 performances.

The production that opened Tuesday evening at The Barn Theatre is an excellent example of why this show has an endless lifespan.

With an outstanding cast led by Barn favorite Tom Wopat as gambler Sky Masterson, the characters and music come alive delightfully and the outstanding score gets yet another lease on life.

The opening "Runyonland," a pantomime of Broadway characters, segues seamlessly into "Fugue for Tinhorns," delivered solidly by Nicely-Nicely Johnson (Scott Burkell), Benny Southstreet (Eric Parker) and Rusty Charlie (Eric Petersen) -- all in delightfully mismatched plaids -- and the show is off to the races.

The excellent Barn cast breathes life into the lineup of oddball characters created by New York sportswriter writer Damon Runyon. Chief among these are Nathan Detroit (Joe Aiello), operator of "The Oldest Established Permanent Floating Crap Game in New York" searching desperately for a location, and his fiancee of 14 years, Miss Adelaide (Brooke Evans), who turns a chronic cold into one of the highlights of the evening.

Aiello pulls out all the stops as the distraught entrepreneur. He frequently balances atop a burlesque fence but creates a character that is ultimately endearing and always hilarious. In a red wig, the statuesque Evans is a physical cross between Lucille Ball and Faith Prince and the perfect Adelaide, vocally excellent and with impeccable comic timing. She and Aiello are definitely a winning team and were favorites with the SRO audience.

As the romantic duo, Wopat and Bossardet make the most of their lovely duets ("I've Never Been in Love Before," "I'll Know") and break out happily in "Havana."

He has one of the show's loveliest ballads, "My Time of Day" and rolls a winner in the powerful "Luck Be a Lady," both of which are evidence that his voice just gets better and better. He is at home in the role, which he has done several times including the Broadway revival, and it shows. Charm is integral to Sky, and Wopat has that to spare. And he looks good, too.

Bossardet deals well with the stiff-necked Sarah, melting charmingly under the influence of many "milk drinks," and her "If I Were a Bell" is a delight.

(Note: The use of amplification for any of the principals' vocals is unnecessary and annoying.)

Among the "high rollers," Roy Brown as Harry the Horse and Adam C. Kern as Big Jule from Chicago deliver just the right amount of Runyonesque attitude. Burkell is, as always, a show stopper with "Sit Down, You're Rockin' the Boat," and Howard McBride makes a sympathetic grandfather for Sarah.

The singing and dancing chorus is a major part of the success of this "Guys and Dolls," with the chorines of the Hot Box delivering the requisite nasal vocals right on pitch and the gamblers blending beautifully in their several numbers.

The set by Dusty Reeds (who also plays the Salvation Army general with parochial precision) does a fine job translating to numerous Broadway locations -- the Hot Box Club (on and off stage), the mission (inside and out), Havana and, of course, the famous sewer -- all easily in place before a Manhattan silhouette.

Costume designer Goulet Bartholomew has created a rainbow of outfits for males and females, featured performers and chorus members alike. They add greatly in setting the mood for this "Musical Fable of Broadway."

Wopat will be on through Sunday, with one performance added at 8:30 p.m., and Adrian Zmed takes over as Sky from Tuesday through July 4.