Frank Loesser’s 1950 musical comedy about sin and romantic salvation might feel dated in its themes but Nicholas Hytner’s production is a feat of innovative staging. The Bridge’s auditorium has been radically rearranged for a promenading audience, with Bunny Christie’s mobile stage continually remaking itself, its platforms rising up to reveal New York City’s bars, clubs and street corners. This movement creates a distraction from the drama, to some degree, yet captures the spirit of Damon Runyon’s original story and the unceasing bustle of his “Runyonland”. It is a marvel to see worlds constructed before our eyes, accentuated by Paule Constable’s lighting design.
There is the option for some audience members to watch from an outer tier of the auditorium and, having chosen to sit, I felt regretfully distant from the immersive elements. It was clear that the promenading audience was experiencing the show differently.
