A BEAUTIFUL DOLL

CV Rep’s production is one bet you can’t lose

It’s amazing. Were this masterpiece from Broadway’s golden age an actual guy or doll, he or she would be scoring Social Security. But make no mistake, this 1950 hoofer is no worse for the wear, thanks to Frank Loesser’s timeless score and Jo Swerling and Abe Burrows’ cheeky book about strippers and dice-rollers.

At 75 years of age, many companies think this perfect musical is too musical comedy or too stereotyping to be presented simply as written. Well, let me tell you, director Adam Karsten’s production of Guys and Dolls at Coachella Valley Repertory delivers something far more satisfying than a revamp: Here, we have a rousingly faithful revival performed with style, confidence, and a level of polish that would be a coup in a much larger market. That it is happening in Palm Springs only makes the accomplishment more impressive.

Gamblers, missionaries, and showgirls are played with humor and affection by a damn good-looking cast of 22 triple-threats, and the score is delivered with gusto by a live orchestra under the musical direction of Stephen Hulsey—a welcome and increasingly rare luxury that immediately elevates the evening. The sound is rich and vibrant, giving the famous numbers the sweep they deserve.

Adapted from Damon Runyon’s stupendous short stories, Guys and Dolls follows two connected paths: Nathan Detroit (Matthew Schatz), operator of a famed floating crap game, must find a venue for his event, difficult because “the heat is on” — and not just from the local Lieutenant (Jason Ayestas): Nathan’s fiancée of 14 years, Adelaide (Jane Papageorge), a burlesque stripper — er, showgirl — with a heart of gold, is at the end of her engagement rope.

To finance his search for a temporary site, Nathan bets visiting high roller Sky Masterson (Carter Michael) that he cannot persuade Sarah (Allsun O’Malley), the leader of the local Salvation Army-style mission, to go to pre-Castro Havana with him for an evening. But this itinerant gambler’s slot machine comes up all hearts, and he has to put more than his bank roll on the line. As Sky worms his way into Sarah’s world, Nathan ducks the cops and his girl — with the help of his two tinhorns, Nicely-Nicely Johnson (Anthony Arpino) and Benny Southstreet (Kyle Vaughn) — as all of New York’s underpinnings sing and dance up a storm.

Loesser’s score includes a bevy of standards, among them  “Bushel and a Peck,” and “More I Cannot Wish You,” a gorgeous Irish ballad beautifully sung with warmth and sincerity by Paul Crane as Sarah’s missionary grandfather, Arvide.

Carter Michael gives Sky easy charisma and strong vocals that anchor the show. His renditions of “I’ve Never Been in Love Before” and “Luck Be a Lady” capture both the swagger and romantic vulnerability that define the character. Opposite him, Allsun O’Malley offers a clear, expressive soprano as Sarah along with a convincing journey from buttoned-up mission worker (“Follow the Fold”) to someone willing to loosen the rules a bit (“If I Were a Bell”). The comic heart of the show belongs to Matthew Schatz as Nathan Detroit and Jane Papageorge as Miss Adelaide. Their scenes together land exactly where they should: big laughs paired with genuine affection.

Kyle Vaughn and Anthony Arpino knock the title song out of the park (even if they did unnecessarily toy with some audience members), and Arpino rightly brings the house down in the second act with one of the most rousing eleven o’clock numbers in Broadway history, “Sit Down, You’re Rockin’ the Boat.” A special “Oh, you doll!” to Cathy Newman, who takes the small role of the Mission’s General Cartwright, and turns it into a most memorable turn of laughs.

Visually, the production supports the classic tone of the show. Jimmy Cuomo’s set evokes the bustling world of Broadway gamblers and backroom deals, while Moira Wilkes’ lighting and Kevin Mark Harris’ period costumes complete the picture of mid-century theatrical flair.

The ensemble creates a vibrant Runyonland, and the dancers—led by dance captain Anton Harrison-LaMond–bring Karen Sieber’s choreography to life with crisp precision and plenty of personality, with The Hot Box sequences adding their own dose of showbiz sparkle.

What ultimately makes this Guys and Dolls such a pleasure is its confidence. Rather than trying to reinvent a classic, CVRep simply delivers it—expertly performed, beautifully sung, and played with obvious joy by a cast that seems thrilled to be there. With a live orchestra and talent this strong across the board, it becomes one of the most satisfying and delightful productions of Guys and Dolls you’re likely to see anywhere.

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photos by Lani Garfield

Guys and Dolls
Coachella Valley Repertory
68510 East Palm Canyon Dr in Cathedral City
Wed & Sat at 2 & 7; Thurs & Fri at 7; Sun at 2
2 hours 30 minutes, one intermission
ends on March 22, 2026
for tickets ($60-$110), call 760.296.2966 x115 or visit CV Rep

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