Review
Culture
Friendship
Theatre
4 min read

Guys and Dolls' celebration of commitment

A truly joyous production of Guys and Dolls causes Oliver Wright to reflect on the positive portrayal of commitment and oath-making that underpins the show’s high-stakes rolling.

After 15 years as a lawyer in London, Oliver is currently doing a DPhil at the University of Oxford.

Five actors stand dressed in 50s clothing.
The leading characters.
Bridge Theatre.

Guys and Dolls is the quintessential musical, and it’s playing gloriously at the Bridge Theatre in London right now. As I left the theatre the other day, I found myself on the ticket website wondering about gambling on an immediate return visit. Are shows ever as good second time round, though? Can such a repeat ever bring new life? Or do repetitions fall flat, guilty of aesthetic anaesthetising?  

These worries reminded me of Kierkegaard’s pseudonym Constantin Constantius, and his somewhat bewildering psychological venture Repetition (1843). In one scene, Constantius retraces his steps to a theatre where he remembers attending a farce that had him in raptures. The second time, however: not so much.  

“I endured it for half an hour”,  

Constantius reports,  

“and then left the theatre, thinking: There is no repetition at all. This made a deep impression on me.”  

But the psychological experiment does not end there. The clue is in his name – Constantin Constantius: constancy doubled, repeated. Repetition can bring new life, all things can be made new (as he implies), if repetition is coupled with constancy, with commitment. That commitment drives repetition forward, not back. “Repetition and recollection”, he claims, “are the same movement, except in opposite directions, for what is recollected has been, is repeated backwards, whereas genuine repetition is recollected forwards.”  

What has all this to do with Guys and Dolls in London 2023? At one level, the show is a wonderful evocation of street-life in mid-Manhattan, of smart but skittish low-level criminality – the pulsating rush for the next illicit game of dice, betting on the horses, falling in and out with Dolls, and generally trying to evade the police. You sometimes think it’s the gamblers and the gambling which steals a Guys and Dolls show.  

 But the way this one plays at the Bridge Theatre, I was struck by such joy and exuberance and laughter, intermingled with a celebration of commitment. What does commitment have to do with gambling; what has commitment to do with joy?  

One of the leads, Sky Masterson, is my way in. We meet him first as something of a cad, flying around, emptying fellow gamblers’ pockets, carousing in Havana, returning for another round of Craps. But he nevertheless turns out to be a man of his word; he literally belongs to his promise. With a flourish early on, he hands over a fateful piece of paper: his marker, an ‘I owe you’ note. It is a guarantee.

The beneficiary is the evangelising Sarah Brown from the Soul-Mission, who Sky at this stage is wooing merely to win yet another bet. The marker is not as frivolous as his affections appear to be. This IOU has a power to which Sky willingly binds himself. Its force, Sky says, can be attested by anyone else in town. Markers will appear again much later in the drama in the chaotic scenes which lead to Sky’s reappearance, as he desperately tries to discharge his obligation, and the magnificent Luck be a Lady Tonight, itself an appeal for ‘luck’ to prove constant, not to be ‘fly-by-night’. So there is an eager commitment – when it comes to gambling – to be ‘good for the money’, to be ‘a man of my word’.   

Marriage, like any relationship, involves gamble and commitment. The greater the proposed commitment, the greater the gamble. The greater the gamble up front, the greater will be the commitment required. If it wasn’t a gamble, it wouldn’t require commitment. 

But the production shows another comingling of gambling and commitment: in relationships. It falls to the principal women, Sarah and Miss Adelaide, rather farcically propping up a bar, to expose this (‘Marry the man today’). Marriage, like any relationship, involves gamble and commitment. The greater the proposed commitment, the greater the gamble. The greater the gamble up front, the greater will be the commitment required. If it wasn’t a gamble, it wouldn’t require commitment. ‘Give him your hand today / And save the fist for after’! 

But commitment in the show is not portrayed as the ‘grit your teeth’, or ‘turn the other cheek’ kind of commitment. No – commitment brings joy and new life to the drama. Without Sky’s IOU, there’s no Guys and Dolls. Without Sarah and Adelaide’s search for commitment, there’s only abuse. And this feeling of joy is widespread. The commitments being made are not just those ‘on stage’, but also by the audience. As you will read in the show’s reviews, the audience are implicated in the action. They are ‘immersed’, standing alongside the actors who move and dance and sing their way through them. The audience are ‘in’ the Hot Box strip-joint, sat at tables. They are gambling along with the crap-shooters. They are witnesses to the testifying in the Save-A-Soul Mission (played in this production as a high point of the show, with ‘impromptu’ encores for Nicely Nicely’s testimony ‘Sit down, you’re rockin’ the boat’). Indeed, they are not just witnesses, but participants.   

That is our commitment, too. Without costume, we nevertheless agree to shed our ‘outside’ lives to participate, to be bound by the terms of the drama. And this ‘shedding’, this agreeing to be bound, this cost which we willingly take on ourselves, ignites joy. Commitment is not a stolid virtue. We need not shirk self-imposed restrictions in principle as being joy-less. There is always a gamble in relationship. And relationship’s gamble only ever pays off through commitment. Commitment to the other.  

Commitment, like Kierkegaard’s ‘repetition’, can forge new life. As well as negatively portraying the ‘falling flat’ of aesthetic repetition, Kierkegaard also celebrates a repetition which is both more mundane and lifegiving. It is life recollected forwards. He writes: “Hope is a lovely maiden who slips away between one's fingers; recollection is a beautiful old woman with whom one is never satisfied at the moment; repetition is a beloved wife of whom one never wearies, for one becomes weary only of what is novel.”   

Reader, I bought more tickets.

Article
Character
Culture
Idolatry
Psychology
6 min read

Jacob Elordi wants more shame, Zadie Smith says it’s useful—what if they’re both wrong?

Shame may be necessary, but only if it can be defeated

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

Frankstein stares our from his covered face.
Jacob Elordi plays Frankenstein's monster
Netflix.

I’ve been thinking about the nature of shame a lot recently. Both professionally and personally, it’s a topic that is demanding my attention. It’s following me around, insisting that I look it in the eye, shoving and nudging me – taunting and tempting me to finally snap and wrestle it to the ground. I guess that is the very nature of shame, isn’t it? It’s always so stubbornly there.  

I’ve also noticed that it seems to have elbowed its way into cultural conversations; it’s been putting a real PR shift in, seeking rehabilitation in public discourse.  

The actor, Jacob Elordi, was recently interviewed by the Wall Street Journal. Kind of interesting, kind of not. The sliver of it that really caught my attention was when the interviewer asked Jacob,  

‘What’s one lost art that you wish would come back in style?’  

To which Elordi replied,  

‘The art of shame. I wish people could experience shame a little heavier’.  

Gosh.  

It makes sense that this was Jacob’s answer; the interview was conducted to promote Frankenstein, Guillermo Del Toro’s new movie in which Jacob Elordi plays Frankenstein’s monster. So, I get it. He’s been consumed with what components make up a monster, endeavouring to literally turn himself into one. He’s been ruminating on the recipe of evil, and perhaps he’s found one key ingredient – shamelessness. Maybe Jacob, having dwelt on such, has subsequently looked out at the not-so-fictional ‘monsters’ wreaking havoc and has diagnosed the same thing, a distinct lack of shame.  

It's a solid thesis.  

It reminded me of another recent interview, this one with the acclaimed author, Zadie Smith. She said,  

‘Shame gets a bad rap these days. I think it’s quite a useful emotion, corrective on certain kinds of behaviour… I assume people – including myself – are just deeply, deeply flawed. And so, shame is usually quite appropriate on a day-to-day level… shame is a kind of productive thing to create change. I guess I do believe that. I know it’s definitely a Christian emotion, that’s why it’s so out of fashion. But I always thought it quite productive in the gospels, that idea that you assume that you are entirely in sin. I always assume that.’  

I half agree with both Jacob and Zadie. In a way, I’d be a fool not to. Not to mention, proof of their thesis. 

I cannot deny that I am, as Zadie points out, deeply, deeply flawed. There is a crack in everything I do, a fracture in all my best intentions. And yours, too, I’m afraid (but I have a feeling you know that). There is a brokenness to us, a breaking-things-ness. To each and every one of us, ‘hurt’ is both an adjective and a verb – something we feel and something we do. The things I want to do, I never manage. The things I don’t want to do, I seem to manage every day. I am falling short, missing the mark – I am so fallibly human.  

To acknowledge such is not only obvious, nor is it simply ‘useful’, as Zadie suggests. It’s inherently spiritual, it’s paradigmatic. 

Last summer, I hosted an event at which Francis Spufford, one of my most cherished wordsmiths, playfully quipped, ‘I’ve heard original sin (the notion that we are, as Zadie notes ‘entirely in sin’) described as one of the few theological propositions which you can actually confirm with the naked eye’. ‘Sin’, Tyler Staton similarly writes, ‘is simultaneously the most controversial idea in Christianity and the one most universally agreed upon’.  

There’s something deeply wrong with the world. We all know that.  

Which, presumably, is what Jacob Elordi is getting at – he’s observing bad people not feeling bad enough about the bad that they do, or worse still, the bad that they are. A healthy dose of shame is the medicine that this world needs, he suggests. 

Oh Jacob, I sympathise with that. The thing is, I have a hunch that the presence of shame makes as many monsters as the absence of it.  

And Zadie, I wonder if shame births as much destruction as it does ‘correction’.  

While I agree with you both that, in a world as broken as ours, shame needs to exist in some form or another, it also needs an antidote. It’s a dangerous substance; toxic and destructive. Don’t let it fool you, don’t be over-generous to it – shame may (in its most moderate and appropriate forms) be an acknowledgment of the disease, but it is not the medicine. It could only ever be ‘useful’ if it is, ultimately, defeatable.  

At least, that’s my – admittedly very Christian – conviction. That’s my take. I can’t pretend that it’s not as theological as it is sociological in its underpinnings. 

I’m relatively new to the liturgical aspects of my own faith tradition (that is, the formalised scripts, actions and rituals that have long fuelled religious experience) , so I have the pleasure of not being numb to them. When I read the ancient words of ancient prayers, they shoot right through me, particularly these ones:  

‘Almighty God, our heavenly Father, we have sinned against you and against our neighbour in thought and word and deed, through negligence, through weakness, through our own deliberate fault...’ 

Ouch.  

As I read those words, week in and week out, my brain creates a helpful montage for me – whirring through the countless ways in which I have failed – in what I think, what I say, what I do. I’m confronted with the ways that my breaking-things-ness has leaked out of me through my negligence, it’s spilled out of my weakness, the force of it directed at others through my own deliberate fault.  

Oh yes, I’m well acquainted with the emotion of shame.  

But the only thing productive/appropriate/corrective about falling on my face in shame, is that there is a mercy that can scoop me up. It’s not hopeless, you see? There’s a mend-ability. There’s an antidote to shame; there’s a balm for its burn. There’s a bewildering love that banishes shame from within me – there’s a rescue route from its toxic spiral.  

The moment that shame is acknowledged, its presence verbalised, its power felt – is the very moment it needs to be neutralised. It cannot fester, it cannot be afforded the loudest, nor the last, say.  

And so, to Jacob Elordi’s interesting wish – that ‘people could experience shame a little heavier’, and to Zadie Smith’s fascinating thesis that ‘shame is a kind of productive thing to create change’- I hear you. I see what you’re getting at. But I can only ever wish people to experience the heaviness of shame if it means that they are more sensitive to the feeling of it being undeservedly lifted off them. That’s where change happens. That’s the medicine.  

So, Jacob and Zadie, let’s agree to half-agree on this one, shall we?  

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