Cathedral City, CA
I grew up in Iowa, where I learned that as a rule, Iowans do not mince words. And that is what you are going to get from me in this review.
From the very first opening scene, to the very last curtain call, I was not only engaged, but in every sense of the word, on the edge of my seat. I have never seen Guys and Dolls, and was only given a slight idea of what the story was from the start.
Someone alluded that they thought it was very misogynistic. I saw none of that. And when I spoke to lead Carter Michael (Sky Masterson), he said that there was a reason for that: the version I saw was an excellent adaptation of the original, and presented in a way that was none of that—at least in my view.
And I give credit where it belongs: to the exceptional creative work of the director, Adam Karsten, who is also the Executive Artistic Director of CVRep. Exceptional productions are the focused work of everyone—cast, crew, musicians, designers, stage hands—and in this case, that focus was obvious.
The theatre matters here
CVRep calls itself “thought-provoking theatre of substance,” and it backs that up with education and outreach—The Conservatory, youth programming, and community impact that goes beyond a single title on a season calendar.
So when a production hits at this level, it isn’t an accident. It’s a culture built on purpose.
The set: a small stage that behaves like a character
I’ll start with the set. This is a small stage, so the set has to work like one of the characters.
Scenic Designer Jimmy Cuomo did an excellent job of taking the limitations of the stage and turning them into advantages—through raised platforms, hidden doors, and set pieces that were simple to move around and perfect for the space. That kind of design doesn’t just hold scenery; it holds story.
The movement: choreography that advances the story
Now I am going to talk about the choreographer, Karen Sieber. To be able to put the amount of movement and dance on that stage was beyond remarkable. It was truly art, and it supported every scene.
The choreography did something that great dance instruction does: it moved the story on—which is what every element and component of a stage production should do.
The music: the unseen musicians, seen through their results
And I’m not going to leave out the musicians—because the level of expertise in that pit (and the leadership that shapes it) is what brings every part of a production to life. Stephen Hulsey is credited as Music Director for this production, and you can feel that kind of seasoned musical guidance in the cohesion of the night.
The real secret ingredient: collaboration, top to bottom
When I try to describe why the arts are so important, I have to describe it as an exceptional and diverse group of people that possess all of the talents to create the best results of their goals and responsibilities—and the most important ingredient is their ability to collaborate, from top to bottom.
That is everyone. And how well that is done is what determines a well-played night of entertainment… all the way up to Tony-Awards-level results. Because everyone connected to a production has one job: take all that talent and ability, within all limitations, and create the best possible play they can put together—for themselves and for the audience.
That requires a director who can empower everyone to bring their best, and give them the tools, instruction, perspective, and guidance to see it through to the end. From my perspective, that’s what happened here.
And I’ll say this plainly: the Coachella Valley is an exceptional place for arts—artists across the spectrum, and an audience that expects the best. For its size, it is one of the best places for all three of those things to come together.
This is a nod to the whole production participants, because they deserve to all be acknowledged.
So when you see the play, please read through the whole play bill before the show, because it will prepare you for the level of exceptionalism and professionalism that each and everyone of these artist bring to the stage, and the level of engagement, joy, and emotional variety that each one of them bring to the table.
Leadership
Adam Karsten serves as Director and Executive Artistic Director, and his résumé includes national PBS work and projects that aired both nationally and internationally—exactly the kind of seasoned leadership that shows up in confident, unified staging. Karen Sieber is the Choreographer, with a background that spans major dance training and Broadway national/international tours, and you can feel that authority in how movement is shaped to advance story. Stephen Hulsey is the Music Director, with extensive experience music-directing major titles, and the cohesion of the musical performance reflects what happens when the baton is in practiced hands.
Design + production
Jimmy Cuomo is the Scenic Designer, and he has been CVRep’s resident designer for over a decade with an Emmy credit connected to Pee-wee’s Playhouse—a lineage that tracks with scenery that transitions cleanly and supports the storytelling without strain. Kevin Mark Harris is the Costume Designer, bringing more than 20 years of fashion styling and costume design experience, and the costuming supports the world with polish and clarity. Moira Wilkie handles Lighting Design and serves as Technical Director; she lit the Annenberg Theater in Palm Springs for nearly 20 years, and that kind of depth shows in lighting that consistently adds “extra magic” without stealing focus. Joshua Adams is the Sound Designer, and his work here is story-first—supporting the production cleanly and consistently, the way the best sound design does. Ryan Marquart is the Property Designer, with decades of professional theatre experience including touring work, and the props feel purposeful and precise rather than decorative. John M. Galo is the Production Stage Manager, with Broadway credits including The Music Man (with Dick Van Dyke), and you don’t get a production this tight without that level of backstage command. Melina Ginn is the Assistant Stage Manager, with academic training in theatre, and her role supports the steady competence required to keep a show like this running smoothly. Lynda Shaeps is the Hair and Makeup Designer, and as the staff hair/makeup designer for both McCallum and CVRep, her work helps seal the illusion so the audience never has to “work” to believe it.
Player
Allsun O’Malley plays Sarah Brown and is praised for a flawless performance and a soaring soprano that lands cleanly in the space. Carter Michael plays Sky Masterson and is noted for dapper confidence, strong stage command, and an impressive “Luck Be a Lady.” Matthew Schatz plays Nathan Detroit and is highlighted for sharp comic timing and strong vocal chops. Jane Papageorge plays Miss Adelaide and is singled out as fabulous, bringing comedic precision and making “Adelaide’s Lament” a standout. Anthony Arpino plays Nicely-Nicely Johnson and is described as an absolute hoot, nearly stealing the show in “Sit Down, You’re Rockin’ the Boat.” Paul Crane plays Arvide Abernathy and is noted for warmth and grandfatherly wisdom, bringing poignancy to “More I Cannot Wish You.” Jason Ayestas plays Lt. Brannigan and is described as well-cast, bringing authority and persistence to a role built to chase chaos. Cathy Newman plays General Matilda B. Cartwright and is singled out for wonderful moments—exactly the kind of craft that makes supporting roles feel essential.
Alex Bernhardt appears as Rusty Charlie / Harry the Horse, Kellen Green is in the ensemble as a Guy, Anton Harrison Lamon appears as a Guy and serves as Dance Captain, Joe Love appears as a Guy, Cristina McKeever appears as a Doll, Jacob Ray appears as a Guy, Jazmin Raye appears as a Doll, Mark Reis appears as a Guy, Rasha Willes Samaha appears as a Doll, Charlotte Scally appears as a Doll, Amy Smith appears as a Doll, Douglas Sorenson appears as Big Jule, and Hannah Staudinger appears as a Doll.
Accessibility
For this production, CVRep lists Tom McGillis as the ASL Interpreter, and the presence of interpretation support is a meaningful part of what it means for a theater to serve its whole community. Liisa Mendoza is an ASL interpreter and educator, bringing formal training to work that demands both linguistic precision and live performance awareness. Philip Rubin is credited by CVRep as an ASL advisor/supervisor on past productions, reflecting the kind of dedicated accessibility oversight that strengthens the integrity of interpreted performance. Martin Yost is a sign language interpreter with decades of professional experience, a level of longevity that speaks for itself in work where trust and fluency matter.
The unseen musicians
CVRep lists the orchestra as Stephen Hulsey (keys/conductor), Brian Alec Thom (keys 2), Nolan Livesay (violin), Brad Vaughn (drums/percussion), Jostein Aarflot (trumpet), Gary Tole (trombone), and Al Yankee and Scott Reese (reeds), and the tightness of the night’s musical foundation reflects exactly what experienced, “unseen” professionals bring to a production when they do their work at the highest level.
Did I love the experience; more than I can ever put into words?
Yes. And I would gladly revisit the theater again to see CVRep’s adaptation of Guys and Dolls.
If you love theater—if you want to experience something engaging, and sheer joy—do not miss this CVRep’s excellent adaptation of Guys and Dolls.
The only thing left to say is simply: Thank you.
Marty Treinen
Guys and Dolls
“A Musical Fable of Broadway “
Based on a Story and Characters of Damon Runyon
Music and Lyrics by FRANK LOESSER
Book by JO SWERLING and ABE BURROWS
Directed by Adam Karsten**
Choreography by Karen Sieber**
Music Direction by Stephen Hulsey
Feb 25 – Now extended through Mar 22, 2026
Photos by Lani
service.to.others.cci@gmail.com