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
AI - Artificial Intelligence
Community
Culture
Education
5 min read

Artificial Intelligence needs these school lessons to avoid a Frankenstein fail

To learn and to learn to care are inseparable

Joel Pierce is the administrator of Christ's College, University of Aberdeen. He has recently published his first book.

A cyborg like figure opens the door to a classroom.
AI in the classroom.
Nick Jones/Midjourney.ai.

Recent worries expressed by Anthropic CEO, Dario Amodei, over the welfare of his chatbot bounced around my brain as I dropped my girls off for their first days at a new primary school last month. Maybe I felt an unconscious parallel. Maybe setting my daughters adrift in the swirling energy of a schoolyard containing ten times as many pupils as their previous one gave me a twinge of sympathy for a mogul launching his billion-dollar creation into the id-infused wilds of the internet. But perhaps it was more the feeling of disjuncture, the intuition that whatever information this bot would glean from trawling the web,it was fundamentally different from what my daughters would receive from that school, an education.  

We often struggle to remember what it is to be educated, mistaking what can be assessed in a written or oral exam for knowledge. However, as Hannah Arendt observed over a half century ago, education is not primarily about accumulating a grab bag of information and skills, but rather about being nurtured into a love for the world, to have one’s desire to learn about, appreciate, and care for that world cultivated by people whom one respects and admires. As I was reminded, watching the hundreds of pupils and parents waiting for the morning bell, that sort of education only happens in places, be it at school or in the home, where children themselves feel loved and valued.  

Our attachments are inextricably linked to learning. That’s why most of us can rattle off a list of our favourite teachers and describe moments when a subject took life as we suddenly saw it through their eyes. It’s why we can call to mind the gratitude we felt when a tutor coached us through a maths problem, lab project, or piano piece which we thought we would never master. Rather than being the pouring of facts into the empty bucket of our minds, our educations are each a unique story of connection, care, failure, and growth.  

I cannot add 8+5 without recalling my first-grade teacher, the impossibly ancient Mrs Coleman, gazing benevolently over her half-moon glasses, correcting me that it was 13, not 12. When I stride across the stage of my village pantomime this December, I know memories of a pint-sized me hamming it up in my third-grade teacher’s self-penned play will flit in and out of mind. I cannot write an essay without the voice of Professor Coburn, my exacting university metaphysics instructor, asking me if I am really saying what is truthful, or am resorting to fuzzy language to paper over my lack of understanding. I have been shaped by my teachers. I find myself repaying the debts accrued to them in the way I care for students now. To learn and to learn to care are inseparable. 

But what if they weren’t? AI seems to open the vista where intelligences can simply appear, trained not by humans, but by recursive algorithms, churning through billions of calculations on rows of servers located in isolated data centres. Yes, those calculations are mostly still done on human produced data, though the insatiable need for more has eaten through most everything freely available on the web and in whatever pirated databases of books and media these companies have been able to locate, but learning from human products is not the same as learning from human beings. The situation seems wholly original, wholly unimaginable. 

Except it was imagined in a book written over two hundred years ago which, as Guillermo del Toro’s recent attempt to capture that vision reminds us, remains incredibly relevant today. Filmmakers, and from trailers I suspect Del Toro is no different here, tend to treat the story of Frankenstein as one of glamorous transgression: Dr Frankenstein as Faust, heroically testing the limits of human knowledge and human decency. But Mary Shelley’s protagonist is an altogether more pathetic character, one who creates in an extended bout of obsessive experimentation and then spends the rest of the book running from any obligation to care for the creature he has made.  

It is the creature who is the true hero of the novel and he is a tragic one precisely because his intelligence, skills, and abilities are acquired outside the realm of human connection. When happenstance allows him to furtively observe lessons given within a loving, but impoverished family, he imagines himself into that circle of growing love and knowledge. It is when he is disabused of this notion, when the family discovers him and is disgusted, when he learns that he is doomed to know, but not be known, that he turns into a monster bent on revenge. As the Milton-quoting monster reminds Frankenstein, even Adam, though born fully grown, was nurtured by his maker. Since even this was denied creature, what choice does he have but to take the role of Satan and tear down the world that birthed him? 

Are our modern maestros of AI Dr Frankensteins? Not yet. For all the talk of sentient-like responses by LLMs, avoiding talking about distressing topics for example, the best explanation of such behaviour is that they simply are mimicking their training sets which are full of humans expressing discomfort about those same topics. However, if these companies are really as serious about developing a fully sentient AGI, about achieving the so-called singularity, as much of the buzz around them suggests, then the chief difference between them and Frankenstein is one of ability rather than ambition. If eventually they are able to realise their goals and intelligences emerge, full of information, but unnurtured and unloved, how will they behave? Is there any reason to think that they will be more Adam than Satan when we are their creators? 

At the end of Shelley’s novel, an unreconstructed Frankenstein tells his tale to a polar explorer in a ship just coming free from the pack ice. The explorer is facing the choice of plunging onward in the pursuit of knowledge, glory, and, possibly, death, or heeding the call of human connections, his sister’s love, his crew’s desire to see their families. Frankenstein urges him on, appeals to all his ambitions, hoping to drown out the call of home. He fails. The ship turns homeward. Knowledge shorn of attachment, ambition that ignores obligation, these, Shelley tells us, are not worth pursuing. Will we listen to her warning? 

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