In a big neon-colored return to Broadway of the 1950s, Asolo Rep’s Guys and Dolls shines brighter than usual in two respects: it’s the leading Dolls who most light up the stage, and it’s the choreography and dancing that illuminate plot and character as much as the iconic songs and vocalizing. With Josh Rhodes in charge, old-favorite routines achieve moments of new sparkle. At the opening, crowds of the chased (con men, thieves) and their chasers (cops, fleeced tourists) along with cowboys and moms pushing prams stream across “Runyonland.” All lead into a pace so consistently high that it may even exhaust the onlooker and hearer, abating only at intermission. When fun continues in Act II, but in a nicely more modulated manner, the show’s story holds a happy-ever-after-future. It resolves two romances. One’s between missionary Sarah Brown (Audrey Caldwell) and gambler Sky Masterson (Cole Burden). The other involves floating crap game producer Nathan Detroit (Chris Hoch), who pursues a gambling venue for the sake of his life, and his Hot Spot club star fiance of 14 years, Miss Adelaide (Veronica J. Kuehn). She’s desperate to “Marry the Man Today.” As Sarah, Audrey Caldwell voices “I’ll Know”-- when her right man appears — with a soaring soprano that expresses her strength and convictions. Yet when she acknowledges Sky “rings her bell,” that strength is winningly attached to her love. Both as character and performer, Caldwell stands out, compared to Cole Burden’s uncharismatic Sky. He goes through the motions of an extravagant bettor who’s also gambled in dolls, but he doesn’t substantiate his changing emotions toward Sarah and the mission. Veronica J. Kuehn, with “Adelaide’s Lament,” need not have misgivings about getting love. The audience connects with her, whether she’s deftly doing a semi-burlesque “Take Back Your Mink” or they’re returning her generous affection “A Bushel and a Peck” worth and then some! As the recalcitrant Nathan Detroit, Chris Hock looks desperate enough both “professionally” and romantically. But when this Guy comes off as a bit of a villain in his treatment of Adelaide, he makes one wonder why Sam Levine and Frank Sinatra took this role and a great actor like Laurence Olivier coveted playing it. Todd Buonopane gets gambler Nicely-Nicely converted, especially with his “Rocking the Boat” account. It’s a solo number choreographically made a production special as his fellow gamblers move to endorse each phase of his dream. His Gal counterpart in a short but outstanding bit as General Matilda B. Cartwright is Fredena J. Williams, who hits a vocal Gospel high. All the Broadway denizens deserve praise for their vigorous song, dance, and patter. The musicians contribute immensely, though their volume could be modified a little. Outstanding in the non-neon parts of Lee Savage’s set is the Hot Spot Club, with its tacky stage inside a tent behind a bar. A Havana sequence provides hot-colored space for a featured island dance and leads to a restaurant where enough drinking will warm up Sarah. Finally, Luck gets appealed to as a Lady in a sewer where gamblers swirl. No matter if you know Guys and Dolls intimately, you should find something new in Asolo Rep’s version. It also wonderfully fits the bill if you’re just looking for a great time at a great piece of entertainment.
