Bright Lights and Big Laughs: “Guys and Dolls” is a Winning Bet

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Shorecrest Drama Presents

Guys & Dolls

A Musical Fable of Broadway

Music & Lyrics by Frank Loesser

Book by Jo Swerling & Abe Burrows

May 7-10 and 14-17, 2026

Shorecrest Performing Arts Center
15343 25th Ave NE, Shoreline, WA

Tickets online here or $20 at the door

Theatre Review by Kindle Carpp

“Guys and Dolls” bursts onto the stage with charm, humor, and dazzling energy in a production that fully embraces the timeless appeal of this classic musical. Filled with lively choreography, memorable performances, and clever visual storytelling, the show captures the spirit of 1950s New York while delivering an evening packed with laughter and heart.

Max Ferrer brings confidence and charisma to Sky Masterson. Ferrer is an incredibly expressive performer whose stage presence effortlessly commands attention, while his smooth vocals add warmth and sincerity to the role. 

Opposite him, Abigail Poor shines as Sarah Brown, perfectly balancing Sarah’s prim and proper demeanor with moments of vulnerability and emotional honesty. Poor’s rich vocal tone and strong physicality make her performance especially engaging, and her chemistry with Ferrer creates some of the musical’s most memorable moments.

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Their performance of “My Time of Day/I’ve Never Been in Love Before” is a standout scene in the production. 

The duet serves as a beautiful emotional centerpiece, combining strong vocals with crisp, elegant dancing that brings the romance of the story fully to life.

Moira Ellis is delightful as Miss Adelaide, delivering a performance filled with humor, personality, and impeccable comedic timing. Ellis possesses an excellent vocal range and a warm, polished tone that makes every musical number a joy to hear. Her fabulous accent and animated physical comedy add even more charm to Adelaide’s larger than life personality.

One of the highlights of the evening comes when Abigail Poor and Moira Ellis join together for “Marry the Man Today.” 

Their voices blend beautifully, and the playful chemistry between the two performers makes the number an absolute joy. The duet is so strong that it leaves the audience wishing the pair had even more scenes together.

Ciaran Stevens gives Nathan Detroit a wonderfully endearing energy. Stevens captures Nathan’s frantic scheming and perpetual overwhelm while still allowing the audience to see the character’s genuinely good heart beneath all the chaos. His comedic instincts keep the role lively throughout the production, and his interactions with Ellis create many of the show’s funniest moments.

Sofia Dessal makes a hilarious impression as Big Jule. The clever juxtaposition of a petite performer portraying an intimidating Chicago mobster becomes an ongoing comedic delight, largely because Dessal commits so fully to the role. Every appearance lands with confidence and humor, making Big Jule an audience favorite.

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Nathan Ruggiero also delivers a memorable moment as Arvide Abernathy during a scene that combines singing and origami onstage. 

It is a small but wonderfully executed detail that feels like a fun Easter egg for attentive audience members and speaks to the production’s thoughtful staging choices.

The staging itself is consistently inventive. With the musicians placed directly onstage, the orchestra becomes part of the visual world of the show rather than remaining hidden in the background. 

Conductor and pianist Chris DiStefano is occasionally woven into scenes, including moments when he performs from a piano positioned onstage as part of the action. 

Throughout the production, cast members interact with the musicians in playful ways, from clinking glasses to popping out of the orchestra booths, adding extra life and spontaneity to the scenes.

The set design does an impressive job of evoking mid-century New York through carefully chosen details rather than excessive scenery. Subway entrances frame the stage with glowing vintage globe lights, while touches like a newspaper box and a payphone immediately establish the period setting. The musicians’ booths feature built in lighting that shifts throughout the show, helping create mood and atmosphere while keeping the stage visually dynamic.

Signage is one of the production’s strongest visual elements. Neon signs, glowing arrows, marquee lettering, stoplights, and hand-painted window details transform the stage into a lively cityscape full of movement and personality. One especially charming moment comes when a model airplane flies over the audience to represent Sky and Sarah’s trip to Havana, creating a clever and seamless transition between scenes.

Costume designers Ari Moore and Cece Henley deserve tremendous praise for crafting costumes that feel authentic to the era while still bursting with theatrical flair. Rather than simply dressing the cast, the costumes help build the entire visual identity of the production and fully immerse the audience in the world of the show.

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Jenny McMurry’s choreography is one of the production’s greatest triumphs. The choreography is consistently inventive, energetic, and visually engaging, making full use of the stage and its vertical space. Large ensemble numbers fill the theater with movement and excitement, and every dance sequence feels thoughtfully crafted to match the personality of the scene.

The Hot Box numbers, including “A Bushel and a Peck” and “Take Back Your Mink,” are playful, lively, and delightfully cheeky while remaining age appropriate. 

“The Crapshooters’ Dance” is particularly impressive, blending athletic acrobatics with sharp ensemble movement to create one of the evening’s most exciting sequences. Meanwhile, “Luck Be a Lady” stands out for its stylish and dynamic staging.

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The production builds towards a finale with “Sit Down, You’re Rockin’ the Boat,” a full ensemble number that showcases the extraordinary talent and energy of the company. The scene is funny, visually inventive, and packed with lively choreography that keeps building momentum through each encore. Every return to the number feels like a fresh surprise.

This production of Guys and Dolls fully embraces the joy, humor, and spectacle of classic musical theater, sending audiences out of the theater smiling long after the final curtain call, proving that luck is definitely on its side.

Performances

• Saturday, May 9 at 7pm
• Sunday, May 10 at 2pm
• Thursday, May 14 at 7pm
• Friday, May 15 at 7pm
• Saturday, May 16 at 1pm & 7pm
• Sunday, May 17 at 2pm

Tickets online here