Guys & Dolls. Photo courtesy of STAGES St. Louis.
STAGES St. Louis has returned to the Kirkwood Performing Arts Center (KPAC) for their second feel-good summer musical. In contrast to the Muny, which hosts several big nationally touring productions that each run for about a week, Kirkwood PAC only does three shows per summer, but they each run for a month, giving audiences plenty of opportunities to catch the action. In June they staged The 25th Annual Putnam County Spelling Bee, that lovable ode to awkward puberty. Next up is the more mature Guys and Dolls, another high-concept musical about high-stakes competition. Running through August 23, this production proves that there is still plenty to enjoy about this mid-century classic.
Guys and Dolls was consciously designed as a throwback to the Warner Bros. gangster films that dominated the box office in the 1930s and 1940s. It takes hard-boiled New York City street stories and merges them with romantic comedy, delivering a feel-good narrative of redemption and commitment. In the end, everybody gets what they need—no matter how long the odds may be.
Like a classic Shakespeare comedy, Guys and Dolls follows a quartet of lovesick fools who couldn’t possibly get together—until they do. It all starts when chronically cash-strapped Nathan Detroit (Matthew Schatz)—who owns a newspaper stand and engages in a little light racketeering—scouts locations for his next big craps game. Unfortunately, Detroit has terrible credit and will need to make a $1,000 downpayment. Opportunity comes in the form of Sky Masterson (Sam Harvey), a professional gambler known for taking outrageous bets. Detroit makes Masterson the one wager he can’t possibly lose (right?): he must take the straight-laced Salvation Army band girl, Sarah Brown (Lindsay Roberts Greene), to Havana the very next day, or fork over a thousand bucks.
Miss Brown, who tirelessly patrols Broadway to save souls and deliver lessons on temperance and chastity, is initially suspicious of the slick Masterson when he sidles into her mission. He promises to bring a flock of sinners to the next prayer meeting, exactly what Brown needs to impress her boss and expand her tiny congregation. Before long, she’s swept off her feet, her doubts silenced by an infectious Latin rhythm and drowned in dulce de leche.
Another woman gets tangled up in this elaborate scheme: Nathan Detroit’s fiancée of 14 years, Miss Adelaide (Katerina Papacostas). The lead performer at a local nightclub, Adelaide has been spinning increasingly desperate lies to her mother for over a decade, claiming that she and Nathan are currently celebrating their 12th anniversary and expecting their fifth child. Nathan promises they will tie the knot someday but flakes out once again. He’s far more focused on his less-than-legitimate business plans.
The two female leads offer vastly different but equally engaging performances. Lindsay Roberts Greene possesses an impressive operatic vocal range and delivers a highly memorable take on Sarah Brown. No matter how unruly the comic mischief gets, she grounds her character with dignity and vulnerability. The yearning she expresses during her “I want” song, “I’ll Know,” is deeply moving. Opposite her, Katerina Papacostas oozes Brooklyn tough-girl charm as Miss Adelaide. She shines in some of the production’s splashiest numbers, capturing the Broadway big-band decadence of the era, and “Adelaide’s Lament” is one of the best musical numbers ever written about hypochondria. Sam Harvey and Matthew Schatz deliver solid turns as the leading men, anchoring the hustling narrative with smooth vocals and good comedic timing.
Nathan’s wisecracking sidekicks, Nicely-Nicely Johnson (Tamar Greene) and Benny Southstreet (Wesley J. Barnes), make for a highly entertaining on-stage duo. The physical contrast between the big and tall Mr. Greene and the petite Mr. Barnes provides some visual comedy; snarky comments and deadpan asides from Barnes are just as entertaining. Barnes’s dancing is also something to see—charming and impressively athletic. Mr. Greene gets his own moment to shine in the second act, leading a crowd-pleasing rendition of the musical’s most recognizable number, “Sit Down, You’re Rockin’ the Boat.” Adding to the carnival atmosphere is Big Jule, a big-time Chicago mob boss who never loses thanks to a combination of skill, loaded dice, and not-so-idle threats. In a gender-flipped casting choice, the cutthroat gangster is played by Ms. Zoe Von der Haar with just the right mix of sardonic humor and menace.
The Kirkwood Performing Arts Center brings the show to life through clever set design and well-crafted costuming. The production team points the way to iconic locations—like the Save-a-Soul Mission, Mindy’s Restaurant, and Joey Biltmore’s Garage—with hanging signs that extend and retract from the ceiling. The stage transforms a three-corner New York City intersection into a Havana nightclub in less than a minute—a must for such a fast-paced musical. The audience is even treated to a trip down into a legendary New York sewer. The wardrobe fits the period, with the gentlemen looking sharp in a variety of colored pinstripe suits; Nathan Detroit looks especially slick in a black and red ensemble. Miss Adelaide’s nightclub scenes feature costumes adorned with feathered headbands and multicolored layers of lace and chiffon, alongside a classic flapper getup adorned with pearls.
In a sometimes confusing and chaotic summer, this production offers an evening of wholesome entertainment with a timeless feel and a contemporary touch. The Ross Family Theatre at KPAC is a gorgeous facility with a surprisingly expansive stage and outstanding acoustics. In fact, the only area where KPAC could improve is parking capacity. You should plan to arrive at least 30 minutes before the show starts. There is limited street parking nearby and a few lots belonging to adjacent businesses, but shows frequently sell out. The house was nearly full on press night, so planning in advance is essential.
Performances run every night except Monday at 7:00 PM, with a 2:00 PM matinee on Sunday. Tickets start at $50, with discounts available for veterans, seniors, and children, though the $99 season pass costs less than three à la carte tickets. STAGES will round out their summer 2026 season later this year with Come From Away, the 2021 Tony winner that follows the 38 passenger jets diverted to a small Canadian town during 9/11. Featuring a folk-influenced score, it balances heart and humor—offering an emotional, inspiring event to look forward to. | Rob Von Nordheim
For more information or to purchase tickets, visit stagesstlouis.org!
