Stacked Deck, Full House: Guys and Dolls Wins Big

By Marikita Saure

Guys & Dolls, Nebraska Communities Playhouse, Friday February 13, 2026

Some shows can feel like a gamble. Guys and Dolls is not one of them.

From the moment the curtain rose at Nebraska Communities Playhouse, it was clear this production wasn’t just rolling the dice — it stacked the deck. With brassy confidence, heartfelt performances, and choreography sharp enough to cut through Times Square fog, this revival proved that classics endure for a reason.

Let’s start with the gamblers.

Christian Cardona’s Nathan Detroit was equal parts slippery and sincere — a man who can organize a floating craps game but somehow can’t quite organize his own wedding. His chemistry with Callise Mah’s Adelaide was a comedic jackpot. Cardona is no stranger to the NCP stage, having been featured in many amazing roles, but this might be my favorite that I’ve seen him portray. His comedic timing and deliveries are right on the money. Mah’s Adelaide was wonderfully neurotic without ever losing her humanity; every sniffle, every lament, landed with precision. She didn’t just sing “Adelaide’s Lament” — she diagnosed it. Her Hot Box numbers were also wonderfully done, fit with adorable costumes (designed by Vonni Sparks) and choreography to match—by Isabelle Bertrand. She quite literally shines. 

Hannah Bertrand-Miller’s Sarah Brown grounded the production with poised conviction and vocal clarity that felt effortlessly luminous. Her transformation from guarded missionary to woman willing to take a leap of faith was beautifully paced. Opposite her, Ike Maytum’s Sky Masterson carried the kind of relaxed charisma that makes you understand exactly why someone might bet their heart on him. Their duets felt tender rather than performative — a refreshing choice that gave the romance genuine stakes.

And then there was Aaron Robinson as Nicely-Nicely Johnson — who, quite frankly, stole the pot. When “Sit Down, You’re Rockin’ the Boat” began, the energy in the room shifted. The choreography was the cleanest of the evening — crisp, unified, and bursting with Broadway-level charm. It was the kind of number that makes you sit up straighter in your seat and think, Oh. This is why we love live theatre. Robinson led it with warmth and comedic finesse, and the ensemble met him beat for beat.

Speaking of ensemble — the featured dancers executed the choreography with heart and visible joy. There’s something magnetic about performers who look like they genuinely love being onstage. That joy is contagious, and this cast spread it generously. Something that is always satisfying to see is an ensemble who are truly committed to their characters and are all  featured in one way, shape, or form. The production team certainly accomplished this, and those involved in this cast rose to the challenge which only added to the beautiful color of this show. 

Visually, the production felt refreshingly modern and simple. The LED-framed proscenium and larger-than-life projections created a bold, colorful world that leaned into the show’s cartoonish wit without overwhelming it. It emphasized the clever writing and heightened style of the piece, reminding us that Guys and Dolls thrives in its theatricality. This wasn’t a dusty museum piece — it was alive, stylized, and unapologetically vibrant. Allowing for a simpler styled set only helped to feature every actor; as the actors onstage completed the scenery, per director JD Madsen’s vision, which was to highlight the lives of the people who populate the story. 

What makes Guys and Dolls endure isn’t just its hummable score or snappy dialogue — it’s the optimism tucked beneath the bravado. Under the fedoras and fast talk are characters aching to be chosen, to be steady, to be loved. And this production understood that. It let us laugh, but it also let us feel.

My only complaints for the evening were some sound issues, which the cast and crew quickly overcame. With some pretty thick dialects, sometimes some actors can be hard to understand, but as long as you train your ear to the way of speaking, it is not as hard to follow along. 

In a story about bets and odds, this cast made one thing certain: sometimes the surest wager is believing in love — and in your local theatre artists who bring it to life with this much care.

Luck? Not required. All you need is a ticket and rolling your dice on a guaranteed enjoyable evening. I’d bet my marker on it.

If you go (and you should!): 
Nebraska Communities Playhouse 
217 Locust St, Hickman NE 68372
February 13th-15th, 20th-22nd. Fridays and Saturdays at 7:30pm, 2pm Sunday matinees.  
Tickets can be purchased online at neplayhouse.com, in person, or by calling the box office at (402)792-8882.

Marikita Saure is a passionate supporter and participant of the performing arts, appearing as an actress, artist, and director for shows in Lincoln and the surrounding areas. She is a big animal lover and has two dogs (Saint Bernard and Terrier mix) whom she loves dearly.

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