GBSC’s ‘Old school’ ‘Guys and Dolls’ is still fun

By Rich Fahey

STONEHAM ––  “Guys and Dolls” is an “old-school” musical, and that’s meant in the best possible way.

The current production at the Greater Boston Stage Company has all of the essential elements to make an old-school musical successful: A tuneful score, well performed, that will have you humming the tunes on your way out the door; sterling production numbers; and a happy ending with everything tied up in one neat bow.

The fictional world of Damon Runyon’s guys and dolls is full of cartoon characters with wonderfully descriptive names such as Harry the Horse and Angie the Ox. It’s pure escapism, and who doesn’t need that from time to time?

Yes, the book by Abe Burrows and Jo Swerling is a bit corny and musty, and references to “dames,” “broads” and “dolls” became extinct centuries ago, but the characters are timeless and there are plenty of one-liners with staying power.

There’s nothing musty or dated about the nonpareil score by Frank Leosser, which contains the title tune, the engaging and melodic ode to horse-racing “Fugue for Tinhorns,” “Luck be a Lady,” “I’ve Never Been in Love Before,” “I’ll Know” and “Sue Me,” as well as the rollicking “Sit Down, You’re Rocking the Boat.”

Director/choreographer Ceit Zweil and a capable cast capture the rhythms and distinctive patter of the gamblers and other assorted colorful lowlifes who inhabit Runyon’s Manhattan.

None of the guys in “Guys and Dolls” are on the level, and that includes Nathan Detroit (Arthur Gomez), the fast-talking proprietor of the world’s oldest established permanent floating crap game, much to the disgust of his long-suffering fiancée showgirl of 14 years, Miss Adelaide (Sarah Coombs).

The good-hearted Nathan is always promising to drop the game and marry Adelaide, but guys like Harry the Horse (Darren Paul) keep bugging him to find a new home for the crap game when the heat comes down from Lt. Brannigan (Kaedon Gray).

Coombs, a superb dancer, plays Adelaide with humor and heart and the requisite nasally naivete that shines through in “Adelaide’s Lament.” She and her fellow Hot Box dancers —  Allison Russell, Hannah Shindanian and Abigain Martin — are a bright spot throughout.

Lisa Kate Joyce is the missionary Sarah Brown, a buttoned-down type focused on saving sinners, until she meets a different kind of sinner, the dashing gambler Sky Masterton (Jared Troilo). She does get to let her hair down in the “Havana” production number, a first-act highlight.

Troilo is the very definition of cool as Masterson, who is not above making a bet  with Nathan Detroit that he can convince Sarah to go to Havana with him. He and Joyce as Sarah have a lovely duet in “I’ve Never Been in Love Before.”

There’s some strong work from supporting characters including Chip Phillips as missionary Arvide Abernathy, a loving grandfather who serenades Sarah in the touching “More I Cannot Wish You.”

Carolyn Saxon is General Cartwright, who visits the mission and doubts it can be saved unless there is a miracle of some sort.

Mark Linehan is a dependable comic presence as Benny Southstreet.and Stephen Markarian has some nice moments as  Nicely-Nicely Johnson, who along with his fellow gamblers visits the mission to pay a debt; he leads an energetic ensemble in “Sit Down, You’re Rocking the Boat,” one of choreographer Zweil’s several rousing production numbers.

There’s also some nice work by Russell, one of several actors doubling or tripling up on roles, in a gender-reversing turn as mobster Big Jule.

An energetic six-piece musical ensemble led by Dan Rodriguez capably performs the glorious score onstage.

“Guys and Dolls” is about a world that, if it ever existed, ceased to exist long ago,. But its funky characters and a witty story makes it a fun place to visit.

And – in the best tradition of an “old-school” musical — it all gets sorted out and tied up in a neat bow at the end and sends the audience out happy.

The Greater Boston Stage Company production of “Guys and Dolls.” Book by Abe Burrows and Jo Swerling, music and lyrics by Frank Leosser. Directed by Ceit Zweil. At the Greater Boston State Company through June 30. Greaterbostonstage.org.