Firstly, I was delighted to be invited to the recent Trinity Players production of Guys and Dolls. It’s been a few years since Trinity took part in our peripatetic festival, so it was a real pleasure to see them back on stage again.
Did they live up to the high standards we’ve come to expect from Trinity Players? Absolutely. This was a well-executed, highly enjoyable evening of musical theatre. With sharp direction, confident performances, and strong technical support, their staging of the Damon Runyon classic—with music and lyrics by Frank Loesser—delivered far more than your average amateur production.
At the heart of the story is Nathan Detroit, a small-time hustler scrambling to find a venue for his floating craps game. Along the way, we’re introduced to a lively and colourful cast of characters.
Paul Wescott stood out as Nicely-Nicely Johnson, bringing both humour and warmth to the role, particularly during the rousing “Sit Down You’re Rockin’ the Boat.” Ravin Thakrar and Charlotte Askew gave natural and engaging performances as Benny Southstreet and Harry the Horse, while Di Mannion brought a gentle gravitas to Arvide Abernathy, most notably in the touching duet with Sarah. Mary Singh also made a strong impression as General Cartwright, embracing her moment in the same number with admirable confidence.
The production was packed with memorable moments—from Sarah’s transformation in Havana to the energetic sewer-set craps game. Showpiece numbers like “If I Were a Bell” and “Luck Be a Lady” were handled with flair, led by a smooth and assured Dan Barnes as Sky Masterson.
The story’s central wager—Nathan betting Sky that he can’t take straight-laced missionary Sarah Brown out on a date—provided the emotional arc. Sasha Barnes played Sarah with sincerity and growing confidence, her voice clear and expressive. “If I Were a Bell” marked a turning point, where both her character and performance fully bloomed.
Dan Barnes brought charisma and calm authority to Sky, and his chemistry with Sasha felt natural and convincing. Their duets had real emotional resonance and provided a solid centre for the show. Meanwhile, Matt Hunt gave Nathan plenty of energy and comic timing, while Bex Perry’s portrayal of Miss Adelaide was both charming and nuanced—shifting seamlessly between exasperation, sweetness, and vulnerability.
Under Richard McNally-Reilly’s direction, the production maintained a good pace and balanced humour with heart. The set was simple but effective, and technical elements—from lighting to sound—were smoothly delivered. Credit goes to Stage Manager (and Producer) Lewis Wescott and the backstage team for keeping things running like clockwork.
Musical Director Peter Bushby guided the orchestra through the score with assurance. From Salvation Army marches to Latin rhythms, the music supported the action beautifully. Choreographer Celine Kirton kept the movement fresh and fun—large ensemble numbers were clean, lively, and never overdone.
With such a large cast, it’s impossible to mention everyone individually, but the enthusiasm and commitment from the full company were evident throughout. The chorus brought energy, atmosphere, and cohesion to the whole production.
By the end of the night, the audience left humming the tunes, smiling broadly, and perhaps imagining themselves in a bustling New York street or smoky Havana bar. A thoroughly enjoyable evening—and a welcome reminder of the talent and passion in our local theatre scene.
Reviewed by – David.T
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