Mac-Haydn Rolls the Dice with Guys and Dolls

In what promises to be their best season yet, the Mac-Haydn Theatre has pulled off a classic with pizzazz, heart, and a ton of loving energy. Guys and Dolls—running through July 6th—was first brought to the stage 75 years ago, and it remains a cornerstone of American musical theater for good reason. With unforgettable characters, witty dialogue, and a treasure trove of show-stopping songs, the production is a delightful ride from start to finish. At the Mac-Haydn, it feels not just like a revival but a joyful reimagining.

Before we get into the brilliance of the story and performances, let’s get this out of the way: the dancing was phenomenal. Ever since their production of Xanadu, I’ve marveled at how the MacHaydn manages to fit so much breathtaking movement into such an intimate space. It’s like a metaphor for the Mac-Haydn itself—modest in footprint, expansive in talent. Under the crisp choreography of Mandy Modic, with assistance from Samantha Litteford, the movement felt both classic and fresh, precise and full of life. The stage may be small, but the performances are nothing short of grand.

Take Spencer Stanley’s pitch-perfect rendition of “Sit Down, You’re Rockin’ the Boat” (a moment some in the audience are likely still humming the next day). The ensemble transforms the Mission House into a metaphorical boat and back again, using nothing but sweeping arm gestures and syncopated footwork. The sheer energy, coordination, and joy that radiate from this number brought the house down.

Stanley (as Nicely-Nicely Johnson) and his counterpart Jack Dossett (as Benny Southstreet) are a comedy duo to remember. Their timing is impeccable, their chemistry easy and delightful, and they carry the banter and rhythm of the show’s opening with confident charm. Their camaraderie sets the tone for a story that balances grit and goofiness, gambling and grace.

Speaking of grace, a special mention must be made of Tristan Caldwell, returning to the Mac-Haydn in the role of Sky Masterson. Caldwell brings the perfect mix of suave sophistication and sincerity to the role of the high-rolling gambler who unexpectedly falls in love with a Salvation Army missionary (Belle Babcock, whose voice is divine by the way). His rendition of “Luck Be a Lady Tonight” was magnetic—equal parts commanding and vulnerable.

Bridget Carrow’s dazzling turn as Miss Adelaide, opposite the lovable and charming Ian Federgreen as Nathan Detroit, was stunning. With a voice as rich as her comic timing is sharp, Carrow shines in every scene she’s in. Her portrayal of a nightclub singer with a heart of gold and a perpetual cold (after 14 years of waiting for her fiancé to commit) was both hilarious and deeply sympathetic. Her rendition of “A Bushel and a Peck” is playful, flirty, and filled with infectious charm.

And while we’re at it: this entire cast deserves a standing ovation. The ensemble doesn’t just fill out the scenes—they elevate them. Whether dancing in the streets, rolling dice in the sewers, or testifying in the mission hall, each performer brings detail, vitality, and presence. The costume and scenic design transport you to the vibrant underbelly of 1950s New York, and the direction maintains a perfect pace—never dragging, always alive with rhythm.

Guys and Dolls is a story of opposites attracting: gamblers and missionaries, love and resistance, vice and virtue. But above all, it’s a story of transformation—of finding something worth betting your heart on. This production captures that spirit in every note, every step, every sly grin. If you’re anywhere near Chatham, don’t miss your chance to see a small-town theater pull off one of Broadway’s biggest-hearted hits.

In short, the Mac-Haydn has once again rolled the dice—and come up with a winning hand.

For tickets, please visit the Mac-Haydn Theatre website at MacHaydnTheatre.org.

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