Camelot Theatre’s production of the ’50s musical checks all the boxes: terrific singing, great score, stunning choreography and a superb cast

By Lucie K. Scheuer for Ashland.news

There’s a wonderful production of “Guys and Dolls” now playing at the Camelot Theatre in Talent. It isn’t reimagined. It isn’t trying to fit modern-day norms or conventions.

It’s just like the original: fun, clever and unpretentious. It has everything a musical should have: terrific singing, a great score, stunning and synchronized choreography, a superb cast, and a seasoned director who knows how to put it all together.

This isn’t just a musical — Rick Robinson, the play’s director and company, has made it into a musical experience. No small feat considering it’s a workhorse of a 1950s musical that’s been around the track a few thousand times. With a book by Jo Swerling and Abe Burrows, the Broadway composer Frank Loesser, (the composer behind this and “How to Succeed in Business”) wrote music and lyrics that have stood the test of time — and prove you don’t have to write 100 good musicals.

The right one can become the gold standard. It helps when all the songs are singable.

A love story with colorful characters

So why do audiences love this simple story so much? It has heart. It’s a love story and it has some eccentric but lovable characters inspired by the great American short story writer Damon Runyon. Essentially, it goes like this. Longtime gambler, Nathan Detroit, has found a place to hold a floating crap game, the Biltmore garage, but he needs to put down a thousand dollars for the space.

To get the money, Detroit challenges, another gambler, Sky Masterson, to a bet he can’t refuse — and one Detroit believes Masterson can’t possibly win. Detroit bets Masterson he must get a simple but determined Salvation Army officer, Sara Brown, to Havana, Cuba, on a date.

Conversely, Masterson talks the virtuous Sara Brown into going on said date by promising 12 “sinners” will visit a prayer meeting at the Salvation Army Hall — thereby saving it from closing — within a short period. Now, can he deliver?

Detroit has also been stringing along his “doll,” singer and stripper Adelaide, for 12 years. She’s reached the end of her rope, and decides Detroit must give up the games and marry her because she’s developed a chronic condition: From a lack of community property/And a feeling she’s getting too old/A person can develop a bad, bad cold!

Zach Virden and Stephanie C. Jones are quite a pair as Detroit and Adelaide, he the wily wooer, she the feisty dancer.

Jones has Adelaide in the bag. She gives it all she’s got, voice and all. Virden has sort of a stripe-suited Dick Powell quality about him, unabashed but decidedly set in his slippery ways.

Cast delivers stellar performances

There’s a winner of an opening number, when Erny Rosales as Nicely Nicely, Chuck Isen as Benny Southstreet, and Declan Whitworth as Rusty flawlessly perform “Fugue for Tinhorns” or “I’ve got the horse right here …” as most of us know it.

Sky Masterson has never been the most demonstrative character, but Tyler Ward-Lemons does a nice job of winning over Sister Sara Brown, played by Lyndsay Nashington. Her singing is lovely. With a soaring soprano voice, Nashington takes this musical to a new level.

Zack Biegel’s sound is well balanced along with Kate Landon’s lighting.

Nathan Ynacay’s costumes capture the feel of the New York underworld and the starchiness of the Salvation Army uniforms. His set design is adequate but just misses being interesting. The New York skyline or lights reflecting from Broadway might have added more appeal.

Shannon Carter’s, Aubrey James Campbell’s and Zia Allen’s choreography is remarkably coordinated, considering the cast and size of the stage.

Karl Iverson has once again captured the musical score, characterized by comedic stretches and wonderfully melodic lines.

“Call it hell, call it heaven, but it’s a probable 12 to 7.”

You’ll enjoy this show and walk out singing the score.

For tickets and more information, go to camelotheatre.org or call the box office at 541-535-5250.

Ashland resident Lucie K. Scheuer is a former copy editor and staff writer with the Los Angeles Times, where her work included features, reviews and a column on films in production. Email her at LucieScheuer19@gmail.com.