Love Takes the Odds in Guys and Dolls at Village Playbox

by Amber Kusching

Guys and Dolls is a classic American musical that premiered on Broadway in 1950, based on the colorful fictional world of author Damon Runyon. With music by Frank Loesser and book by Jo Swerling, the show went on to win five Tony awards, including Best Musical. The show was revived on Broadway in 1992, and to this day, its story and music connect to audiences from all over the world. 

The show features two overlapping love stories: a charming but broke gambler (Nathan Detroit played by Ed Silberman) trying to host an illegal crap game, and his long-suffering showgirl fiancée (Miss Adelaide played by Jenn Colleluori) who wants him to settle down, alongside a high-stakes gambler (Sky Masterson played by Ryan Lynd) who falls for a strict mission worker (Sarah Brown played by Emily McDermott).

Once the audience enters the theatre, they are immediately immersed in the music of the Depression era. This sets the tone well for what the show will deliver. Village Playbox also features their “Playbox Café”, where before, during, or after the show, audiences can sit and enjoy some light refreshments. 

The overture, played before the main action of the show, in this production, felt long. It did feature creative lighting by Gary Kochey, which aided in the passage of time. However, it might have been best to have an abbreviated version of the music, as when the next sequence of “Runyonland” really sparked excitement and audience engagement. In “Runyonland”, production Director and Choreographer Piper Byrne really utilizes the space and creates intricate and nuanced vignettes depicting the chaotic life in New York in the 1920’s. 

Byrne, in her directing, uses the space creatively and even includes some staging through the aisles in the audience. She also keeps the stakes high. The show, though almost three hours long, never runs out of energy. Byrne creates excellent pictures in her blocking, especially during the scene in the Havannah night club, and the prayer meeting and crap game scenes, including the amazingly executed crowd-favorite, “Luck Be a Lady”.

The production’s set design—conceptualized by Piper Byrne, Alexis Romeo, Mike Tursi and Juliana Citrone, and constructed by Mike Tursi, Ken Van Dyk and Bill Binder—is economical without sacrificing impact. The set, which is deceptively simple and modest, allows the actors and the story to take center stage. It created a strong sense of space without unnecessary clutter. It features the Hotbox, a Newsstand, and Save a Soul Mission upstage, and a set of platforms of varying elevations downstage. 

The core four leading actors are magnetic and well-matched. McDermott as Sarah Brown is commanding and pitch-perfect in her stirring soprano singing, especially in her duet “I’ll Know”. Also, her performance of “If I Were a Bell” showcases her natural flair for comedic delivery.  Lynd is resolute, radiant, and overall remarkable in his portrayal of the strong Sky Masterson. The two definitely have “chemistry”. 

Colleluori as Miss Adelaide is charming and flawlessly nails the infamous Adelaide accent. She is simultaneously ditsy and endearing. Her persistent cold is particularly silly, and Colleluori’s has impeccable comedic timing, especially in her song “Adelaide’s Lament”. Silberman as Nathan Detroit lights up the room with his unmatched energy whenever he is onstage. He expertly navigates the intricacies of the tough-guy facade and Adelaide’s loving fiancé. The two have a great dichotomy in the song “Sue Me” and work together well to tell the complicated story. 

Others in the cast who stand-out include Colby Crawford as Nicely Nicely Johnson, the Twizzlers-loving gambler. Crawford’s rendition of the popular “Sit Down Your Rockin’ the Boat” is exciting, energetic, and entrancing. His voice is sonorous and his New York accent is unmatched and “nicely” done. Ensemble member Bill Binder is intoxicating as the drunken bum in the opening sequence. He roots the mayhem of the scene. 

I would be remiss to exclude the silly and sassy Hotbox Girls: Marie Altman, Victoria Friday, Erica Klazmer, and Julia Faupel. Featuring charming choreography from Byrne, the songs “A Bushel and a Peck” and “Take Bak Your Mink” are standout moments.

There is also a sweet surprise and an especially moving moment where Emily McDermott shares the stage with her own real-life father and stage grandfather Jim McDermott (as Arvide Abernathy). The scene is raw and simultaneously adorable.  

All the actors exemplify over-the-top acting, embodying the spirit of the Golden-Age romantic comedy. Completing the cast are Tim Catrino as Benny Southstreet, Matt Maerten as Rusty Charlie, Lauren Altman as Agatha, Jake Harrell as Harry the Horse, Stu Sklar as Lt. Brannigan and Joey Biltmore, Marie Altman as Mimi, Jordan Debes as General Cartwright, Rich Shockley as Big Jule, and Jessica Allen, Lewie Homan, Kelsey Ryan, Stephanie Hofstetter, Bill Binder, Samatha Neuwirth, and Jenna Horblinski as ensemble members. The ensemble serves as the heartbeat of the production, bringing energy and cohesion to every scene. Every member of the company is fully committed, creating a vibrant and believable world onstage. Even in smaller moments, the ensemble remained fully invested, enriching the storytelling with believable character work. 

Rounding out the crew are stage manager and tech director Juliana Citrone, props mistress Alexis Romeo, costume design by Piper Byrne, Juliana Citrone, and Alexis Romeo, and lights and sound by Gary Kochey. Citrone's technical direction was seamless throughout the production and the transitions moved effortlessly from scene to scene. Romeo's props were thoughtfully selected and added authenticity to every scene.  From stacks of dice to mission materials, the props design enriched the production with period-appropriate detail. The costumes established each character's personality while remaining faithful to the musical's iconic aesthetic. The Hotbox Girls' wardrobe was particularly vibrant and dynamic, bringing energy and excitement to the stage. Everything was glued together by Kochey on the lights and sound board.  Both worked together to effectively establish the mood and atmosphere of each scene. The lighting design was especially thoughtful in its use of color, enriching the production's visual palette. Overall, the technical crew's hard work allowed the story to unfold without interruption, and their dedication contributed significantly to the production's success. Special shout-out to the production for exemplary wig design.  

The cast, under the musical direction of Cara Barse, sing with impeccable diction and vocal precision. The men’s harmonies, specifically in “Runyonland”, “The Oldest Established”, and the titular “Guys and Dolls” are particularly entrancing. The music of this show is fun and embodies the pinnacle of “Golden Age” musical theatre. 

Overall, Village Playbox’s production of Guys and Dolls is exciting and engaging. It will be sure to have you saying, “I’ve never been in love (with musical theatre) before”. As this show has already had several sold-out performances, it is best to purchase a ticket in advance online at www.villageplaybox.org . 

For the people all said sit down, you’re watching a show!