Vibrant production of Guys and Dolls is a crowd-pleasing hit at Aurora’s Vintage Theatre.

In an era where online gambling is just a tap away, the high-stakes world of Guys and Dolls feels more relevant than ever. Vintage Theatre’s latest production of this classic musical reminds us that while the game of chance has evolved, the human follies surrounding it remain unchanged. With a talented cast, lively choreography and a colorful set, this production is a slickly produced hit.

At its heart, Guys and Dolls is a story of unlikely romances and high-stakes wagers in Damon Runyon’s mythical New York City. Nathan Detroit (Scotty Shaffer) is a lovable but perpetually broke gambler who runs an underground craps game — much to the chagrin of his long-suffering fiancée, Miss Adelaide (Jessica Sotwick), who’s been waiting for a wedding ring for 14 years. Meanwhile, high-roller Sky Masterson (Justin Milner) takes a bet that he can convince strait-laced missionary Sarah Brown (Nicole Cherecwich) to accompany him to Havana. What unfolds is a fast-paced tale of love, deception and redemption, all set to Frank Loesser’s iconic score.

Photo: RDGPhotography

A delightful surprise

Vintage Theatre’s 178th production is a delightful surprise. Walking in, I expected a show from the 1950s to feel dated or sluggish, but Guys and Dolls holds up remarkably well. Sure, its themes of gambling and religious salvation might raise an eyebrow or two, but it never feels as antiquated as some of its contemporaries (Show Boat, anyone?).

Under the direction of Carter Edward Smith — who made his Vintage directorial debut last year with The 25th Annual Putnam County Spelling Bee — this production seamlessly transitions between the bustling streets of New York, the Save-a-Soul Mission and even Havana with impressive ease. Smith’s decision to include a pantomime sequence at the top of the show, illustrating the lively hustle and bustle of the city while the overture played, was an effective way to set the tone

The minimal but effective set, designed by Brendan T. Cochran, features three panels decorated as buildings angled inward toward a painted New York skyline, providing a simple yet immersive backdrop enhanced by Emily Maddox’s lighting design. Susan Rahmsdorff-Terry’s costumes are not only period-appropriate and brightly colored; they also help transform ensemble members into everything from gangsters to missionaries to Havana partygoers.

One of the show’s undeniable strengths is its dynamic choreography, masterfully designed by Dallas Slankard. From the riotous energy of the “Crapshooters Dance” to the playful, showgirl-infused numbers at the Hot Box, the dance sequences are full of energy and precision.

The ensemble shines particularly in the rollicking “Sit Down, You’re Rocking the Boat,” where the silly, synchronized movements add to the number’s infectious joy. The entire cast commits fully to the choreography, executing intricate footwork and comedic physicality with skill and enthusiasm, making these moments some of the production’s biggest highlights.

Action at the Hot Box in ‘Guys and Dolls.’ | Photo: RDGPhotography

Missing the live band

Tanner Kelly’s musical direction ensures that the cast sounds fantastic throughout, with strong harmonies and clear vocal performances. However, the production’s decision to use backing tracks rather than a live band is a noticeable drawback. While the cast does a great job working with the pre-recorded music, there’s an undeniable energy that comes with live musicians that was missing here.

At the heart of this production is an impeccably cast ensemble that brings infectious energy to the stage. Scotty Shaffer is a lovable scoundrel as Nathan Detroit, making it impossible not to root for him despite his perpetual scheming. Jessica Sotwick’s Miss Adelaide is the undeniable standout of the show.

As she did in a stellar performance as Mrs. Lovett in Sweeney Todd with Conifer’s StageDoor, which we here at OnStage Colorado called “stunning,” Sotwick brings a delightful blend of brass and vulnerability to Adelaide. Her comedic timing is razor-sharp, but it’s in her more intimate moments — particularly in her Laments and the scene after she is stood up by Nathan Detroit on their wedding night — where she truly shines.

Justin Milner and Nicole Cherecwich, as Sky Masterson and Sarah Brown, both have strong voices and embody their characters well, though their onstage chemistry isn’t as electric as one might hope. That said, Cherecwich’s nuanced portrayal of Sarah’s internal struggle adds depth to the role.

David Kincannon, a staple of Denver’s theatre scene since 2004, delivers a rock-solid performance as Nicely Nicely Johnson, bringing the house down with the showstopping “Sit Down, You’re Rockin’ the Boat.” And Cooper Kaminsky is delightfully subdued as the ever-suave Benny Southstreet.

As Sarah’s loving grandfather and cymbal player in the mission’s band, Brian Trampler’s Arvide Abernathy exudes warmth and has a lovely singing voice. Shirene Agahi-Patterson brings a commanding presence to her role as General Cartwright while Elliot Clough’s Lieutenant Brannigan strikes the perfect balance of authority and comedic incompetence.

Though the show’s group scenes could have benefited from more dynamic reactions outside of musical numbers, this is a minor quibble in an otherwise well-crafted production. From the first roll of the dice to the final bow, Vintage Theatre’s Guys and Dolls is a joyful, high-energy ride that proves some gambles are well worth taking.