This standout musical comedy production has style, timing, and big voices.
By Jeffrey Walker -May 21, 2026
Entering the Riverside Center for the Performing Arts for Guys and Dolls means you are also entering a stylish, wood-paneled nightclub, flanked by two entry doors that are connected by a passerelle. The floor is down a step and resembles — wait for it! — a craps table. The entire set is backed by a scrim depicting Times Square circa 1950, which spells out in bright lights “Guys and Dolls.”
Helping to transport the audience to another time, Christian Fleming’s scenic design immediately sets the tone for director Patrick A’Hearn’s production of Guys and Dolls. A’Hearn’s impeccable casting is another highlight of this fresh take on a Golden Age musical theater comedy gem. Featuring many colorful characters from the short stories of writer Damon Runyon, this 1951 Best Musical Tony winner looks as fresh as a new $100 bill. The delightful book by Jo Swerling and Abe Burrows, with a sparkling score and lyrics by Frank Loesser, remains one of the most perfect musical librettos from the era (perhaps any era). Director A’Hearn trusts the material and has trimmed away the flying sets and spectacle, firmly focusing a spotlight on the ne’er-do-well gamblers and the women who love them.
The classic tale has two sets of lovebirds, in classic musical fashion. The classy, upper-level gambler, Sky Masterson, and his (at first) reluctant and virtuous target, Sarah Brown, are played with sterling voices and appealing character choices by Dan Klimko and Sarah Mae Andersen. Masterson’s devil-may-care nature is tested when he crosses paths with Sarah Brown, a Salvation Army sergeant who works the streets of Broadway with her grandfather to win souls for God. This mismatched duo grows on each other, his tough-as-nails, cynical gambler softening to her earnestness and charm; her holy mission to save souls bending toward her own softening as she sees the good creeping out of Sky. Klimko has the leading man looks to hook any willing doll, and Andersen appears fresh and innocent but reveals a deeper sense of humor and longing as the story progresses. Both leads have big, legitimate voices, which breathe life into some of Loesser’s ballads, such as “I’ll Know” and “I’ve Never Been in Love Before.”
Taking charge on the more comedic side of romance, hapless schemer Nathan Detroit and his long-long-LONG-time fiancée Miss Adelaide are portrayed with impeccable comic timing and expansive personalities by Ian Ian Federgreen and Kiley Ernest. Fendergreen has the Runyonesque delivery down pat, and handles Nathan’s rapid-fire dialogue like a top comic in a 1930s screwball picture. Ernest nails Adelaide’s thick-as-a-bagel accent and Betty Boopish delivery, but when she sings, the rafters get a little creaky when she belts out her signature tunes “Bushel and a Peck,” “Take Back Your Mink,” and the comedic gem, “Adelaide’s Lament.” Her chemistry with Fendergreen’s Nathan is not only palpable but touching as they maintain their perpetual engagement and finally reach the altar.
Lending more than able support to the leads is Darius J. Manuel as Nathan’s associate Nicely-Nicely Johnson, an affable character performed by an effortless performer. When Manuel opens his mouth to sing, the vocal equivalent of a trumpet emerges and handles his load of Loesser’s tunestack like the songs were written for him. Along with Zachary Spafford’s Benny and Clay W. Muir as Rusty Charlie, Nicely-Nicely and the other gamblers warble “Fugue for Tinhorns,” setting up the stylish and jazzy score from the beginning. Later, Manuel and Spafford pull out the title song, backed by the crackerjack pit band. But hold on to your fedora for Manuel’s rendition of the lively “Sit Down You’re Rockin’ the Boat.” As showstoppers go, the song is a banger, and Nicely-Nicely took everyone to church with his evangelistic vocals.
Riverside regulars Ian Lane and Andrea Kahane make a strong comedic impression as Big Jule, a gambler visiting from Chicago, and General Cartwright of the Salvation Army. Bringing a sweet and endearing gravitas to Sarah’s grandfather, Arvide, Jim Lawson lends wisdom to the proceedings. His performance of the charming and fatherly “More I Cannot Wish You” is a standout solo, as well.
The ensemble of Hot Box Club dancers and rogue’s gallery of big city gamblers fill the stage with dynamic moves, courtesy of Stephanie Wood’s sharp choreography.
A’Hearn assembled a top-notch team of collaborators. Caroline Tyson’s period costumes give the actors just the right gilding. And music director Carson Eubank remains an essential team member at Riverside, leading the 10-piece orchestra and supporting the actors from downbeat to finale. Sound designer Justice Craig and lighting designer Michael Jarret bring just the right tones throughout the production.
Since patrons can still enjoy the dinner theater experience at Riverside, it’s worth mentioning they have several show-themed dining options for Guys and Dolls, including several pasta options, along with an array of appetizer and dessert options, and a full bar ready to serve.
Riverside rolls a winner with this standout production.
Running Time: Two hours and 30 minutes with a 20-minute intermission.
Guys and Dolls plays through June 28, 2026, at Riverside Center for the Performing Arts, 95 Riverside Parkway, Fredericksburg, VA. Tickets ($65–$82) are available online or through the box office 540-370-4300, open from 10 am to 6 pm, Mon.-Wed.; 10 am to 7:30 pm, Thu.-Fri; 12 pm to 7:30 pm, Sat.; 12 pm to 3 pm, Sun. Discounted senior & group rates are available (for details, click here.)
Evening performances start at 7:30 pm with dinner service beginning at 5:30 pm on Thursday, Friday, and Saturday. Matinee performances start at 1:30 pm with meal service beginning at 11:30 am on Wednesday and 3:00 pm on Sunday, with meal service beginning at 1:00 pm.
Show Tickets
Adult – $67
Senior (65+ years) – $62
Military (limit 4 per show, per account with ID) – $62
Child (3-17 years) – $55
Show tickets purchased online incur an additional $5 per-ticket convenience fee
Rush – $35 – available for same day, must mention RUSH to get the discount, no online sales, no adding dinner
Dinner Tickets
$25 + taxes, purchased with a mainstage performance ticket
Dinners purchased online incur an additional $2 per-ticket convenience fee
The program for Guys and Dolls is online here. Check out the menu here.
