The Eglesfield Musical Society have succeeded in producing an entertaining and truly spectacular adaptation of Guys and Dolls. I found this production to be engaging throughout. It immersed the audience in the show, and successfully brought the feel of the gambling scenes of New York City.

We are introduced to Nathan Detroit (George Robson) and his band of gamblers, on the search for a place to hold their next (illegal) craps game. It contrasts with Sergeant Sarah Brown (Ellen Taylor) and her Save-a-Soul Mission, who aim to steer the gamblers away from sin. Still, a bet between Nathan and the notoriously lucky – and wild – gambler, Sky Masterson (Toby Agerbak), gets Sarah unwittingly involved in Nathan’s reputation, as he is dependent on the bet’s prize for his next game. The production provided humour in this contrast, for which the cast deserve great praise.

A standout performance is owed to Graciela Blandon as Miss Adelaide, Nathan’s long-time fiancée. With her powerful voice, I found that Blandon portrayed Adelaide’s charm and humour, alongside her mixed feelings towards Nathan and his actions. Her comical reactions as Adelaide discovers Nathan’s shortcomings made her truly impressive. I felt Adelaide’s character fully shined through in her performance. Similarly, Taylor’s Sarah undoubtedly deserves a mention. Knowing the show, I was excited to see this production’s interpretation of Sarah, and in her songs, “I’ll Know”, “If I Were a Bell”, and, with Adelaide, “Marry the Man Today”, Taylor’s voice is breathtaking. She encapsulated her character’s pious and idealistic nature, and her scenes with Agerbak provided an admirable showcase of Sarah and Sky’s chemistry throughout the performance.

Yet, I found the most enjoyable number to be “Sit Down, You’re Rockin’ the Boat” – arguably, the most famous song of the musical, and an ideal chance to highlight the talent of the majority of the cast in one show-stealing number. I entered this show with anticipation for this song, as my favourite of the musical, and they most certainly did not disappoint.  James Pearson as Nicely-Nicely Johnson led this scene with a strong voice and stage presence, while the orchestra, choreography, and lighting joined him in turning this into a memorable performance. Throughout the production, the orchestra gave the show energy, playing brilliant overtures at the beginning of both acts. This talent, hand in hand with the show’s choreography, was best expressed in the Hot Box and Havana scenes, and, most notably, with the “Crapshooter’s Dance”. I found that these showcased the production’s choreography, and the cast’s talent, while, with the orchestra, these scenes embodied the show’s fast-paced and playful nature.

Meanwhile, the set of The Queen’s College was remarkable in itself. The incorporation of the college into the production, with characters on the phone being seen through the window, emphasised the production’s unique, but excellent, approach to this classic. This interpretation was furthered as, even from the beginning of the show, characters approached the audience. As soon as the overture strikes up – if you’re lucky enough to sit at the end of a row, as I was – you will be greeted with a “What’s there to see in New York?”, among other questions. This immersion continued throughout, as some audience members were given lei necklaces in the Havana scenes, and later asked to do a hula-hooping competition with the characters. Undeniably, this added to the show’s entertainment and captivation of its audience. This was also seen in the Hot Box scenes, when characters were sat in the aisles, encouraging us to cheer and applaud the Hot Box Girls, prompting wild cheers – which they rightfully deserved. I thoroughly enjoyed this aspect of the show, which provided the feeling of genuinely being in the New York nightclub.

The lighting was a notable part of this production, especially with the backdrop of The Queen’s College. As it got darker, the lighting came more to the forefront, and, covering not just the stage, but also the gardens and college walls, underlined this production’s individuality. The use of this throughout different scenes was enjoyable, watching police lights cover the college walls, and a green light engulfing the cast upon Sky’s final, victorious gamble.

This production exemplified Guys and Dolls’ style and playfulness, mixed with skilful and enthralling musical numbers. The show left us discussing the cast’s phenomenal successes, and the magnificent setting within the college. For this, both the cast and crew deserve significant praise, and luck for the remainder of its run!

[Guys and Dolls, a production by Eglesfield Musical Society, is running at The Queen’s College Gardens, 20-23rd May, 2026]