5.96°C Having seen a rather indifferent production of this musical last summer, I was wary about returning to what can feel like a hot box of a show, sensing that it is a little dated and perhaps a touch too long. While that can remain true of many musicals from this period, Colchester Operatic Society proved me wrong with a vibrant, superbly sung production that finally revealed the show’s enduring greatness.
The excellent set, featuring a neon New York skyline, combined with the superb band led by Rob Miles and positioned above the stage, allows the company to move freely across the Mercury. From a brilliantly inventive overture, the production opened smoothly on its first night and delighted a capacity audience.
At the heart of the story, gamblers Sky Masterson and Nathan Detroit wreak emotional havoc on the lives and loves of Miss Adelaide and Sarah Brown, and the production convincingly captures the complexities of love. Jonathan Davis as Nathan and Richard Woodford as Sky both embody the lovable rogue qualities that keep us firmly on their side. Mathilde Marsh is simply superb as missionary Sarah Brown, frightened by the possibility of love yet unable to resist it. At the other end of the emotional spectrum, Holly Bird is equally excellent as Miss Adelaide, raunchy when required but delivering pinpoint comedy alongside real vulnerability.
Strong character work abounds across the ensemble. Graham Bowden brings effective poignancy to scenes with his daughter Sarah, Stuart Williams is an excellent Big Jule, and Paul Flynn makes a strong impression as Harry the Horse. However, the performance that truly stands out belongs to Wilfred Kemsley as Nicely-Nicely Johnson, making an outstanding debut for Colchester Operatic Society. He fully inhabits the role, and his rendition of Sit Down You’re Rocking the Boat raised the roof of the Mercury. It is the highlight of the show, and you could sense the audience itching to give him a standing ovation for that number alone.
Director and choreographer Wade Ablitt, assisted by Harriet Ablitt, once again demonstrates a boundless knowledge of musical theatre, capturing the true spirit of the piece. The choreography challenges the company, and they rise to it with real panache. You do not need luck on your side here. The hard work this company has put in has paid off with a golden roll of the dice. Catch it if you can.
Until 8th February: COS: Guys and Dolls (2026) – Mercury Theatre
Review by Paul T. Davies, Theatre Editor, Keep Colchester Cool
