Guys and Dolls
at Bishop O'Connell High School

Reviewed on November 16, 2019

Ella Fosse
Lake Braddock Secondary School
Submitted for publication to Cappies News

The streets of New York are tapping along to a jaunty beat. The roads bustle with street vendors, policemen, and whispers of an underground crap game that's got every man hooked. Bishop O'Connell's recent production of Guys and Dolls danced onto the scene with an energy akin to the streets of Fifth Avenue in this classic musical.

The musical premiered on Broadway at the 46th Street Theatre in 1950 and has been revered by musical theatre fans ever since. It is a portal back in time to New York City during the 1950s, reflected in the music and technical aspects. With music by Frank Loesser and book by Abe Burrows and Jo Swerling, this fast-paced production details the intertwined lives of a gambler trying to find a venue for his crap game, his performer fiancée with a peculiar illness, a straight-backed missionary sergeant and a gambler who never seems to lose a game.

Bishop O'Connell executed this production with a delightful burst of energy, evident from the moment the first suit-clad man stepped onstage. This was illustrated by the large ensemble, who were always immersed in the scene, never alienating the audience. Each had a distinct personality and interacted with the surroundings with a unique display of that character. Through the variety of tableaus created by the ensemble members, the show was brought to life.

While the performance was executed by a truly admirable group of actors, there are some that deserve a spotlight. Katie Stansel's portrayal of Miss Adelaide sauntered onto the stage with an energy so riveting that it was impossible not to pay attention to her. Her immense stage presence drew audiences to her so well that every little quip in her New York accent was a delight. She brought excellent humor and incredible vocal skills to songs like "Adelaide's Lament" and "Sue Me". She had extraordinary stage chemistry with anyone she so much as exchanged a word with. Other standouts included Lara Sunter, who characterized the stiff Sarah Brown admirably, accented by her melodic soprano. Sophomore Carson Barnes embodied the wily Nathan Detroit with a wink and a smile, bringing considerable charisma to the stage. Sky Masterson, portrayed by Aidan O'Donovan, stood out especially in numbers like "Luck Be A Lady Tonight".

This production had a vast number of standouts from the talented cast. Luke Sullivan brought great comedic timing and an excellent voice to the lovable character of Nicely-Nicely Johnson. His bouncy characterization made his rendition of "Sit Down You're Rocking the Boat" a clear audience favorite. An unlikely star found itself in the two-minute cameo of Gavin Salinas's Joey Biltmore, whose heavy New York accent had the audience howling with laughter for the short scene he was in. Anthony Jeffress brought an astounding maturity to not only the character, but the voice of Brother Arvide Abernathy, while still cracking jokes here and there.

The technical aspects were essential to the success of this performance. The hair design for the show, by Jenna McKibbin, not only exemplified the era, but went along with the character development of Sarah Brown. As she became more carefree, her hair came down from its tight bun. Madeline Johnson and Connor Owens's set design was an integral part of the show, providing levels for the actors to work with and even utilizing a trapdoor as a sewer manhole at one point.

Overall, the cast and crew of Bishop O'Connell's Guys and Dolls brought a vivacious energy to the stage in a well-executed production that brought the audience out of their seats.

Emma Carpenter
McLean High School
Submitted for publication to Cappies News 2

In a world of gangsters, gamblers, and guns, Bishop O'Connell High School's production of "Guys and Dolls" takes us back to 1950s New York regarding a bet that goes horribly wrong.

Since its premiere on Broadway in 1950, "Guys and Dolls" has been revived time and time again, receiving numerous Tony awards along the way. Playwright Jo Swerling recounts the story of a businessman with divided loyalties, Nathan Detroit, as he makes a bet with Sky Masterson, a charismatic but self-assured gambler. Masterson's goal; to take Sarah Brown, the town's religious ambassador, down to Havana Cuba to win $1000. However, things aren't what they seem as a 14-year engagement starts to crumble and a new unlikely love begins to emerge.

From her first moment on stage, Miss Adelaide played by Katie Stansel, carried the show with her lively persona and spirited energy. Torn between her character's exasperation and devotion for Nathan, Stansel captured the attention of the audience, particularly through her captivating and engaging vocals that presented her emotion and providing her character depth. Stansel gracefully managed to sing elegantly while maintaining her Manhattan accent.

Opposites really do attract, as shown by Aidan O'Donovan, portraying the role of gambler and "sinner" Sky Masterson. Watching his character fall in love with the contrastingly stern Sarah Brown (Lara Sunter) allowed O'Donovan to portray his characters' vulnerable side as they both personified their opposing traits, creating an endearing connection onstage. His strong and clear voice complemented Sunters' effortless falsetto as they captured their sentimental moments.

Sending the audiences into hysterics with every appearance, Luke Sullivan, portraying Nicely-Nicely, made the most of every moment on stage with his joking persona and consistent accent that charmed the audience throughout the show. With sarcastic charisma, witty charm and will-timed humor, Sullivan was the comic powerhouse of the show. His notable performance of the electrifying number "Sit Down You're Rocking the Boat" displayed his engaging stage presence as he took the spotlight, showing off the ensemble's collective energy and unison of choreography. During this piece, the ensemble managed to maintain their distinctly individual characters while remaining a part of the group as the show descended into a comedic spiral of madness and complications.

From costumes to the language and accents within the musical, every part of the production felt like it was straight out of the 1950s. The vibrant and well-tailored costumes enhanced each character's persona while still looking and feeling authentic. Noteworthy examples include Miss Adelaide Hot Box girls as they twirled around the stage in alternating outfits per song, not to mention Miss Adelaide's astounding quick costume change into a wedding dress during the final scene. The set, headed by Madeline Johnson and Connor Owen, consisted of a simplistic platform with stairs on either side and a trapdoor acting as a manhole cover to the sewer during one of the final scenes. Perfectly fitting the needs for the show, the set accommodated for a large cast effectively as the lighting efficiently aided scene transition and place from night into day, from the streets to the sewers.

Whether attempting to acquire $1000 or just trying to save the souls of the damned, Bishop O'Connell's rendition of "Guys and Dolls" is priceless, entertaining audiences throughout the theatre.

Isabella Russo
HB Woodlawn Secondary Program
Submitted for publication to Patch.com

On the streets of 1950's New York, how quickly can a crapshoot bet between guys turn into a real life romance with a doll? In just one night, as we learn in Bishop O'Connell High School's Guys and Dolls.

Guys and Dolls follows a group of gambling crapshooters, including their leader, the fierce yet charismatic Nathan Detroit, and Sky Masterson, a smooth and charming gambler known to make wild bets. Nathan makes Sky a seemingly impossible bet-- that Sky can get Sarah Brown, the local church mission leader, to go on a date with him to Havana, Cuba. Miraculously, Sky does it, but soon realizes that he has fallen in love with her. Guys and Dolls is a charming and classic story of unexpected love, with musical numbers that make the audience want to dance in their seats.

With music and lyrics by Frank Loesser and a book by Jo Swerling and Abe Burrows, Guys and Dolls quickly became a Broadway classic after debuting on Broadway in 1950. The original Broadway production won 5 Tony awards, including Best Musical, and the show then went on to open on the West End in 1953. There have been countless revivals of the show since its premiere, with new twists and reimaginations of an already famous show.

Katie Stansel is a vivacious yet moody Miss Adelaide, bringing bounds of energy with her wherever she goes onstage. With a strong and pure belting voice, Stansel truly is a powerhouse of a performer and adds a lively vitality to every scene she is in.

Despite being a mighty leader, Nathan Detroit (Carson Barnes) has a charming and witty side that is shown in his scenes with Adelaide, his fiancé of 14 years. Barnes has an effortlessly flexible tenor voice that rings clearly throughout the walls of the theater, proving his immense capability as a vocalist. As Sky Masterson, Aidan O'Donovan has a clever and charismatic presence which allows him to woo the stubborn Sarah Brown (Lara Sunter). Sunter and O'Donovan are a loveable pair onstage, and they have a dazzling sound during their duets.

Effective and impressive, one of the most useful tools for the audience was the hair and makeup (Jenna McKibbin and Mario Munoz). From Sarah's tight bun to Adelaide's big, curly ‘do, the hair represented the characters while remaining period-appropriate, showing the full capabilities of the hair and makeup team. The hair and makeup choices would adapt along with the characters, such as Sarah letting her hair out of the bun when she felt more comfortable and free, and it proved to be a helpful clue for the audience to understand how the characters were changing.

With a powerful group of vocalists, an expressive ensemble, and intelligent technical choices, Guys and Dolls at Bishop O'Connell High School is a lively performance of a timelessly classic musical about love, change, and, of course, gambling.

Kylee Majkowski
McLean High School
Submitted for publication to Insidenova - Sun Gazette

The tale of unlikely lovers is a classic one, but mix in crapshooters, showgirls, and missionaries, in New York City, and you have the boat-rocking musical, "Guys and Dolls", recently performed by the O'Connell Players at Bishop O'Connell High School.

The classic musical premiered on Broadway in 1950, where it won the Tony for Best Musical. A film adaptation followed in 1955, and in 1998 the Decca Cast album was inducted into the Grammy Hall of Fame. Featuring performances from Nathan Lane, and various other talented actors, "Guys and Dolls" has been charming audiences for decades.

The show follows two intertwining stories of gamblers in love. Nathan Detroit aims to host a crap game, but can't seem to come up with the money for a place to play. He takes a bet with the infamous Sky Masterson that he can't get the conservative missionary Sarah Brown to accompany Sky to Havana. All this occurs while Nathan Detroit struggles to find peace with his fiancee of 14 years, Miss Adelaide. The two tangled tales guarantee laughs and moments of sentiment for everyone watching.

With a strong leading cast required for the show, Sky Masterson, played by Aidan O'Donovan, had a flirtatious swagger about him that set the tone for the piece. O'Donovan used his natural stage presence and charisma to display the character development of Sky throughout the show. Contrasting Sky was Sarah Brown, whose uptight personality and angelic voice were managed spectacularly by Lara Sunter, bringing a subtle softness to the character. In the other pair, there was Nathan Detroit, played by Carson Barnes whose swanky flair made the audience sympathize with the notorious sinner. Finally, the lovely Miss Adelaide, portrayed by Katie Stansel, who enchanted the audience each time she graced the stage. From her strong belting Broadway voice, to her consistent accent and comedic timing, Stansel played Miss Adelaide with elegance while still sustaining a relatable quality about her.

What truly creates the environment of Guys and Dolls is the supporting cast, tasked with creating a cohesive atmosphere. Luke Sullivan playing Nicely-Nicely Johnson did exactly that as he led the ensemble of crapshooters while also dazzling the audience in his remarkable performance of the iconic musical theatre anthem "Sit Down You're Rocking the Boat." Johnson's crew of Crapshooters maintained an impressive sense of environment through steady accents and choreography execution that astonished the audience. A separate ensemble, the adorable Hotbox Girls, sufficiently backed up Miss Adelaide while still finding their individual personalities and drawing attention to themselves in the larger group scenes.

Showing the bustling streets of New York when given limited space is no easy task, but managed to be achieved by a platform set that provided levels that were utilized many times throughout the performance. The set brilliantly doubled as an entrance to a sewer scene where lights completely transformed the atmosphere. Another challenge proposed by this show was the need for dependable hair, makeup, and costume which were all delivered on, as costumes balanced the swanky suits of the crapshooters, the formal wear of the missionaries, and the pin-up style of the Hot Box girls.

"Guys and Dolls" at Bishop O'Connell High School, with its charisma, charm, and feel-good energy left the audience sure of one thing. "When you see a guy reach for the stars in the sky, you can bet he's doing it for some doll!"

Isabel Auclair
Teen Theatre Company
Submitted for publication to The Catholic Herald

If you're looking to let your hair down in Havana, crusade against the devil in the devil's own territory, or wager your soul for one thousand dollars, then pop down the manhole to Bishop O'Connell's rendition of Guys and Dolls.

Based on "The Ideal of Miss Sarah Brown" by Damon Runyon, with lyrics and music by Frank Loesser, Guys and Dolls premiered on Broadway in 1950, and was adapted into film in 1955. It chronicles the adventures that ensue when Nathan Detroit bets Sky Masterson one thousand dollars that he cannot take Sarah Brown, the Sergeant of a mission to convert sinners in New York City, on a date to Havana. Mayhem ensues as Nathan fails to elope with his fiancée of fourteen-years, Miss Adelaide, Sarah begins developing feelings for Sky, and Sky begins to ask whether notorious gamblers like himself can change for love.

Guys and Dolls introduced characters and setting starting with the Entr'acte, with ensemble members showing authentic interactions before the first line was spoken. Quick changes for Miss Adelaide (Katie Stansel), accomplished by velcro straps, as well as ensembles in Havana, were seamless while maintaining the authenticity of 1950s garb. During subsequent numbers "The Crapshooter's Dance" and "Luck be a Lady", facial expressions and reactions of crapshooters were natural, enforcing the impatient tableaus whilst Sky Masterson (Aiden O'Donovan) hesitated to bet souls on the roll of dice.

Nathan Detroit, portrayed by Carson Barnes, showed natural interactions with his fellow cast-mates, especially Miss Adelaide, in the impressive vocal display during "Sue Me". Katie Stansel's consistent accent throughout song and dance numbers helped her character, Miss Adelaide, stay prominent throughout the performance.

Luke Sullivan's rendition of Nicely-Nicely Johnson cracked up the audience, with slapstick interactions with Nathan Detroit and other crapshooters. Gavin Salinas, as Joey Biltmore, in a telephone conversation with Nathan Detroit, clearly distinguished himself from his other role as Harry the Horse with a thick accent and physical humor.

During slow, poignant songs as well as grand musical numbers, Mary Tucker on sound kept the mic mixings organic, letting the ensemble be heard while keeping the soloists prominent. Lighting created obvious differences between Havana, with brash blues and pinks, and the sewers of New York, with a subtle green.

So "Follow the Fold" to Bishop O'Connell, and sit on down for a rollicking production of Guys and Dolls.

Clare A'Hearn
McLean High School
Submitted for publication to Falls Church News Press

Hotbox girls, missionaries, and gamblers: a strange assortment of characters for such an iconic musical. Yet, "Guys and Dolls" revolves around these absurd subjects. These improbable elements were brought together delightfully in Bishop O'Connell High School's production that filled the audience with amusement, enchantment, and fascination.

With a book by Jo Swerling and Abe Burrows and music and lyrics by Frank Loesser, "Guys and Dolls" premiered on Broadway in 1950 and has been warmly received ever since. The Tony Award-winning musical follows a group of corrupt gamblers located in New York City in the 1950s and their run-ins with both the local missionary society and the police. Led by Nathan Detroit, but controlled by Sky Masterson, the gamblers attempt to find a location for a crapshooter game while the missionaries strive to find sinners that will repent. The unlikely pairing of these two groups allows for a night of amusement and delight.

Aidan O'Donovan portrayed the notorious Sky Masterson, his compelling stage presence accentuated by the charisma and wide emotional scope. Through the development of his character from a criminal to a caring individual, O'Donovan highlighted his impressive voice and vocal ability. His numerous duets were well-received as O'Donovan provided a strong connection to Lara Sunter, playing Sarah Brown.

Katie Stansel, playing Miss Adelaide, captured the attention of the audience with her powerful belt. With the ability to effectively sing with an accent, her vocal expertise commanded the stage. Stansel's emotional extent was most notably featured in her performance opposite Carson Barnes who played Nathan Detroit. Additionally, her portrayal of Miss Adelaide's relationship with Nathan was enhanced by her desperation and extraordinary vocals, specifically in "Sue Me" where the pair presented appealing harmonies.

Luke Sullivan as Nicely-Nicely Johnson provided consistent high energy throughout the show and an unmatched level of comedy, from his ever-changing facial expressions to his precise mannerisms. Sullivan dominated the stage as he led the engaging "Sit Down You're Rocking the Boat," which featured a dynamic ensemble that wore lively facial expressions. The song ended in a scenic stage picture, symbolizing the separation between the crapshooters and missionaries.

The Hotbox Girls accompanied Miss Adelaide with flirtatious dancing, clear commitment to their roles, and charming facials. Their spirited yet teasing energy gave contrast to the more serious ballads in the show, entertaining the audience with their singularity.

Each technical element aimed to work cohesively to depict New York City in the 1950s. To clarify the setting, O'Connell's lighting choices were clever, including the choice to emit a green hue while in the sewers. Furthermore, the lights provided visual gags seen specifically in "Sit Down You're Rocking the Boat," as a light shone on the crucifix hanging above the stage. Accentuating the time period, the costumes not only fit the era but acted fluidly when accompanied by hair changes to represent character development. Additionally, the costume department masterfully handled countless quick changes between scenes both for individual characters and the ensemble as a whole.

The audience may "Never Have Been in Love Before" but they surely were after Bishop O'Connell High School's exceptional production of "Guys and Dolls."

Leo Tesfaye
Lake Braddock Secondary School
Submitted for publication to Connection

Bishop O'Connell's spectacular performance of their fall musical followed the story of two pairs of unlikely lovers, crapshooters, missionaries, showgirls is,of course, Guys and Dolls.

The story was written by Jo Swerling and Abe Burrows and later composed by Frank Loesser and is known for being one of the most timeless productions on Broadway. This classic musical follows a gang of gamblers in New York City trying to acquire an area to fuel their habits whilst not going broke, avoiding the police and for two men, in particular, staying in the good graces of their lovers.

Carson Barnes (Nathan Detroit) was charm in human form. His charismatic energy and suave movements painted the perfect picture of a slick alluring dicer from the '50s. Accompanied by strong vocals, Barnes serenade the audience in numbers like "Sue Me", making us swoon despite being aware of his schemes. Paired with his showgirl lover Katie Stansel (Miss Adelaide) the two held amazing stage chemistry and their back and forth banter was sure to always get a laugh from the audience. Stansel alone owned the stage when it was given to her. Her presence, especially in her solo performances, was utterly show-stopping, belting out lyrics beautifully while holding her accent in place.

Luke Sullivan (Nicely-Nicely Johnson) was a highlight of the show, earning laughter everywhere he went on stage. Sullivan had energy like no other and performed with enthusiasm and jocularity. His solo number "Sit Down You're Rockin' the Boat" was stunning, earning high praise. Gavin Salinas (Harry the Horse/Joey Biltmore) truly taught the audience the meaning of "the duality of man." Salinas went from playing a slightly sleazy crapshooter to an even sleazier car-dealership owner, changing his accent and voice completely.

Technical aspects such as the costumes designed by Minerva Martinez truly brought the show together throwing the audience into the 1950s just on looks alone. Martinez captured the New York style of that era perfectly, especially with the blazer that added character to each one of the actors. The costumes for the HotBox Girls were exquisite, the ensemble never wearing the same outfit twice as well as being given stunning accessories, especially in the number "Take Back Your Mink."

The set was designed by Madeline Johnson and Connor Owen was a permanent location that was used in a myriad of ways. Space was utilized perfectly with two levels to portray two different scenes and accompanied by the projector, introduced a multitude of colorful scenery to truly put the audience in the show. Fun features like the trap door added pizzazz to the production and did a very good job of setting the stage even further.

Bishop's O'Connell's lively production of Guys and Dolls was a stunning recreation of the Broadway classic that makes one want to roll the dice and take a chance on love, marry the man today or maybe even follow the fold-- there is a little something for everyone.