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July 2 – August 13, 2017
(Opening Night: Friday, July 7)
Donald and Darlene Shiley Stage
Old Globe Theatre
Conrad Prebys Theatre Center
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 and Choreographed by Josh Rhodes
In Association with Asolo Repertory Theatre
Guys and Dolls tops Entertainment Weekly’s list of the Greatest Musicals of All Time, and for good reason: it’s everything we love in musical theatre. Now fast-rising director/choreographer Josh Rhodes returns to the Globe to direct our first-ever production of this Broadway masterpiece. Nathan Detroit needs some serious dough to keep his “oldest established permanent floating crap game” going. He’s also got his hands full with his marriage-minded girlfriend Adelaide. But when Nathan makes a bet with high-roller Sky Masterson, his problems appear to be solved. Based on Damon Runyon’s famous tales of small-time hoods and showgirls, Guys and Dolls is filled with some of the most wonderful showtunes ever, including “Luck Be a Lady,” “I’ve Never Been in Love Before,” and the irrepressible anthem “Sit Down, You’re Rockin’ the Boat.” Guys and Dolls will put a spring in your step and a smile on your face and remind you how much fun it is to see a top-notch Globe revival of a classic American musical!
Damon Runyon (Story and Characters), born in New York City in 1880, was an American short-story writer, journalist, and humorist. He was the archetype of the tough, hardnosed street reporter who fraternized socially with gangsters and hoodlums. He began in the newspaper business as a child and went on to cover news, sports, politics, and crime during his time in the business. He also published verses and short stories in national publications such as Harper’s Weekly and McClure’s. He wrote his first book in 1911, a collection of poems entitled The Tents, and began covering World War I soon thereafter. By the 1920s, Mr. Runyon had developed his own distinct style as a prolific author, and in the late 1930s, he began writing and producing movies in Hollywood. Mr. Runyon’s works served as the basis for 29 feature films, including Lady for a Day directed by Frank Capra (1933), Little Miss Marker starring Shirley Temple (1934), The Lemon Drop Kid starring Bob Hope (1951), and Pocket Full of Miracles with Bette Davis (1961). In all, Mr. Runyon’s literary legacy includes over 700 stories, novellas, plays, articles, essays, and poems. Among his best-known works is Guys and Dolls, which was adapted for the stage in 1950 as a musical on Broadway, where it ran 1,200 performances. It was then brought to film in 1955 starring Frank Sinatra, Marlon Brando, Vivian Blaine, and Jean Simmons. The musical has been staged in over 25 countries and is performed over 3,000 times annually in high schools, universities, and community and regional theatres, making it one of the most produced musicals of all time.
Frank Loesser (Music and Lyrics), one of America’s great composer/lyricists, began his songwriting career during the Great Depression as a lyricist, contributing songs to Broadway revues and nightclub acts. His work with composer Irving Actman in the 1936 revue The Illustrator’s Show led to a songwriting contract in Hollywood, where he spent the next 11 years working with such composers as Burton Lane, Jule Styne, Arthur Schwartz, and Hoagy Carmichael. Some of his film songs from that period include “Two Sleepy People,” “Jingle Jangle Jingle,” and “I Don’t Want to Walk Without You.” The first song for which Mr. Loesser wrote both words and music was “Praise the Lord and Pass the Ammunition,” written during his World War II service. His Hollywood work after the war included the hit songs “Spring Will Be a Little Late This Year,” “A Slow Boat to China,” and the 1949 Oscar-winning song “Baby, It’s Cold Outside.” In 1948 Mr. Loesser was approached by fledgling Broadway producers Cy Feuer and Ernest Martin to write music and lyrics to George Abbott’s libretto for an adaptation of the classic Brandon Thomas play Charley’s Aunt. The new musical, which starred Ray Bolger, was called Where’s Charley? and was a hit. This led to Mr. Loesser’s next show, the hugely influential and successful Guys and Dolls in 1950, also produced by Mr. Feuer and Mr. Martin, with a script by Abe Burrows and Jo Swerling. In 1956 Mr. Loesser wrote the libretto, music, and lyrics for his next show, The Most Happy Fella, adapted from Sidney Howard’s play They Knew What They Wanted. This impressive score contains over 30 musical numbers and makes extensive use of operatic techniques and forms, including recitative, arias, duets, trios, and choral numbers. In 1960 Mr. Loesser provided the score and was co-librettist for Greenwillow. The next year he wrote the score for the Pulitzer Prize-winning How to Succeed in Business Without Really Trying. His last show, Pleasures and Palaces, closed in 1965 during out-of-town tryouts. frankloesser.com.
Jo Swerling (Book), born in Russia in 1897, was a playwright, screenwriter, and vaudeville sketch writer. Mr. Swerling’s long career began as a reporter and feature writer in New York and Chicago.
Abe Burrows (Book) studied to be a doctor and an accountant and had a career in sales before becoming a successful radio scriptwriter and writer/performer of musical parody numbers. His first Broadway libretto was Guys and Dolls, co-written with Jo Swerling, with a score by Frank Loesser. Among the musicals for which Mr. Burrows provided librettos are Make a Wish; Can-Can and Silk Stockings, both with scores by Cole Porter; Say, Darling; and How to Succeed in Business Without Really Trying, which he also directed, with a score by Frank Loesser. Mr. Burrows’s non-musical plays include Cactus Flower, which he wrote and directed; and Forty Carats, which he directed.
Josh Rhodes (Director and Choreographer) most recently directed the Globe production of Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery, following his work as choreographer on the highly acclaimed Bright Star (also Broadway, 2016 Astaire and Outer Critics Circle Award nominations for Outstanding Choreographer) and Working (also at Broadway Playhouse in Chicago, Drama Desk Award-winning production at Prospect Theater Company in New York). He recently directed Spamalot (The 5th Avenue Theatre, Gregory Award nomination), Joseph and the Amazing Technicolor Dreamcoat (Casa Mañana), and Broadway Bares XX and XXI. As a choreographer, his other Broadway credits include Rodgers + Hammerstein’s Cinderella (Outer Critic Circle, Astaire, and Drama Desk Award nominations), It Shoulda Been You, and First Date. Onstage and on screen, Mr. Rhodes choreographed Company starring Neil Patrick Harris (PBS/Screenvision) and the Emmy Award-winning productions of Sweeney Todd and Sondheim! The Birthday Concert (New York Philharmonic/PBS). He also choreographed Zorba! (City Center Encores!), Broadway: Three Generations (The Kennedy Center), and A Funny Thing Happened on the Way to the Forum (Shakespeare Theatre Company, Helen Hayes Award nomination). His other stage credits include John Kander’s The Landing (Vineyard Theatre), On the Town (Los Angeles Philharmonic), Annie Get Your Gun starring Patti LuPone (Ravinia Festival), Barnum (Asolo Repertory Theatre, Sarasota Magazine Theater Award), They’re Playing Our Song starring Jason Alexander (Reprise Theatre Company), Stars of David (Philadelphia Theatre Company), Academy (Maltz Jupiter Theatre), 1776 (Paper Mill Playhouse), and Chess and Dreamgirls (North Carolina Theatre).
Lee Savage (Scenic Design) previously designed The Old Globe’s productions of In This Corner and Back Back Back. His New York credits include The Lightning Thief (Theatreworks USA), Muscles in Our Toes, Sunset Baby, and Thinner Than Water (Labyrinth Theater Company), Collapse (Women’s Project Theater), All-American (LCT3), The Dream of the Burning Boy and Ordinary Days (Roundabout Theatre Company), Oohrah! (Atlantic Theater Company), and punkplay (Clubbed Thumb). His regional credits include Asolo Repertory Theatre, Chautauqua Theater Company, Dallas Theater Center, The Glimmerglass Festival, Goodman Theatre, Guthrie Theater, Shakespeare Theatre Company, Washington National Opera, Westport Country Playhouse, The Wilma Theater, Yale Repertory Theatre, and others. He has also designed internationally for Gate Theatre in Dublin and Edinburgh Festival Fringe. Mr. Savage has received an NAACP Theatre Award for Satchmo at the Waldorf (Wallis Annenberg Center for the Performing Arts); Helen Hayes Award for Much Ado About Nothing and nominations for A Midsummer Night’s Dream and Richard III (Shakespeare Theatre Company); and Connecticut Critics Circle Award for The Intelligent Design of Jenny Chow (Yale Repertory Theatre). He is a member of Wingspace Theatrical Design and an instructor at Yale School of Drama’s Design Department and Rhode Island School of Design. Mr. Savage received his B.F.A. from Rhode Island School of Design and his M.F.A. from Yale School of Drama.
Brian C. Hemesath (Costume Design) is a two-time Emmy Award-winning designer for PBS’s “Sesame Street.” He spent 14 years at “Saturday Night Live,” where he designed costumes for 106 digital shorts with The Lonely Island, including “Dick in a Box”. His Broadway credits include Honeymoon in Vegas, and his Off Broadway credits include Disaster! and Unbroken Circle. His selected regional credits include Boeing-Boeing, Smokey Joe’s Cafe, Pump Boys and Dinettes, High School Musical, and the regional production of Honeymoon in Vegas (Paper Mill Playhouse), Guys and Dolls (Asolo Repertory Theatre), and Chicago, The Rivals, and Iolanthe (Skylight Music Theatre). Mr. Hemesath received his M.F.A. from Carnegie Mellon University, and in 2015 he received the Irene Sharaff Young Master Award from Theatre Development Fund. brianhemesath.com.
Paul Miller (Lighting Design) designed the Broadway productions of Amazing Grace, The Illusionists, Legally Blonde, Jackie Mason: Freshly Squeezed, and Jackie Mason’s Laughing Room Only. His Off Broadway credits include Marry Harry, Out of the Mouths of Babes, Clinton The Musical, Pageant, Vanities: The Musical, Waiting for Godot, Addicted, Nunsense, and Balancing Act. He also designed Big River and six other shows for City Center Encores!Mr. Miller’s regional credits include Stratford Festival, Chicago Shakespeare Theater, Idaho Shakespeare Festival, Great Lakes Theater, Asolo Repertory Theatre, American Conservatory Theater, Cleveland Play House, Pasadena Playhouse, and Goodspeed Musicals, as well as New Jersey Ballet Company, Eglevsky Ballet, and Grand Rapids Ballet. His U.S. tours include Elf, The Illusionists, Shrek The Musical, Storytime Live!, The Wizard of Oz, Legally Blonde, Sweeney Todd, Hairspray, The Producers, and The Sound of Music. Mr. Miller has designed internationally for London’s West End, Vienna, Teatro alla Scala in Milan, South Africa, China, Manila, and São Paulo. His television and event credits include “Live from Lincoln Center,” numerous Netflix and Showtime specials, the internationally renowned Broadway Cares/Equity Fights AIDS fundraiser Broadway Bares, and every live performance from the New Year’s Eve celebration in Times Square since 2000. PaulMillerLighting.com.
Kevin Kennedy (Sound Design) previously designed the Globe’s production of Richard O’Brien’s The Rocky Horror Show. He has alsodesigned Guys and Dolls, West Side Story, Luck Be a Lady, Noah Racey’s PULSE, 1776, Deathtrap, and Bonnie & Clyde (Asolo Repertory Theatre), This Wonderful Life (Asolo Repertory Theatre, Cleveland Play House, Syracuse Stage, Laguna Playhouse, North Coast Repertory Theatre), The Colored Museum (Huntington Theatre Company), Moonshine (Dallas Theater Center), Nilo Cruz’s Hurricane (Ringling International Arts Festival, Arca Images/Miami-Dade County Auditorium), and 1776 and A Little Night Music (American Conservatory Theater), as well as the 2016 and 2017 seasons at The Muny, and the tours of Mamma Mia!, Joseph and the Amazing Technicolor Dreamcoat, and Flashdance. Mr. Kennedy also served as Production Engineer/Assistant Designer for Cirque du Soleil’s Paramour, Sunset Boulevard, Bonnie & Clyde, and Kinky Boots (2013 Tony Award for Best Sound Design of a Musical) on Broadway.
Sinai Tabak (Music Director and Additional Arrangements) has music directed regional productions of Guys and Dolls, Josephine, and Luck Be a Lady (Asolo Repertory Theatre), Les Misérables (Dallas Theater Center), Bells Are Ringing (Berkshire Theatre Festival), The Rocky Horror Show and Justin Guarini’s Lovesick (Bucks County Playhouse), Johnny Baseball (Williamstown Theatre Festival), and Family Album (Oregon Shakespeare Festival). His Off Broadway credits include Stars of David (DR2 Theater), and his workshop credits include The Total Bent (The Public Theater), American Psycho, Murder at the Gates, Damascus Square, and The Single Girls Guide (Dallas Theater Center). He also worked as an on-set pianist for the film Hello Again. Mr. Tabak received a degree in Music Composition from New York University.
Lee Wilkins (Associate Director and Choreographer) directed and choreographed The Little Mermaid (Casa Mañana), First Date (Straz Center), Broadway Bares XXII: Happy Endings, and the 2(X)IST New York fashion show. He served as Associate Choreographer on Broadway for Bright Star, It Shoulda Been You, First Date, and Rodgers + Hammerstein’s Cinderella, as well as Company and Sondheim! The Birthday Concert (Avery Fisher Hall). Mr. Wilkins also choreographed Rodgers + Hammerstein’s Cinderella (current national tour) and Spamalot (The 5th Avenue Theatre). His most recent work includes Guys and Dolls (Asolo Repertory Theatre), Carousel (English National Opera), Big River (City Center Encores!), Paint Your Wagon (The 5th Avenue Theatre), and God Bless You, Mr. Rosewater (Encores! Off-Center). His television choreography credits include “The Late Show with Steven Colbert” (CBS), “The Hatfields and McCoys” (NBC pilot), and “Alpha House” (Amazon Studios). He has also performed on Broadway in Elf (original cast), Spamalot, Wonderful Town, and Kiss Me, Kate, as well as the national tours of Cats, How to Succeed in Business Without Really Trying, Guys and Dolls, and Kiss Me, Kate.
Tara Rubin Casting/Kaitlin Shaw, CSA (Casting) has cast the Globe’s Othello, The Two Gentlemen of Verona, Dog and Pony, A Room with a View, and others. Their select Broadway credits include Prince of Broadway (upcoming), Bandstand, Indecent, Sunset Boulevard, Miss Saigon, Dear Evan Hansen, A Bronx Tale The Musical, Cats, Falsettos, Disaster!, School of Rock, Gigi, Bullets Over Broadway, Aladdin, Les Misérables, The Heiress, How to Succeed in Business Without Really Trying, Billy Elliot: The Musical, Shrek The Musical, Young Frankenstein, Mary Poppins, Spamalot, The 25th Annual Putnam County Spelling Bee, The Producers, Mamma Mia!, Jersey Boys, and The Phantom of the Opera. Their Off Broadway credits include The Band’s Visit; Here Lies Love;and Love, Loss, and What I Wore. They have also cast regionally for Yale Repertory Theatre, Bucks County Playhouse, Paper Mill Playhouse, and Berkeley Repertory Theatre.
Peter Van Dyke (Production Stage Manager) has been a stage manager for over 50 productions at The Old Globe, beginning with Foxfire in the former Cassius Carter Centre Stage in 1984 and most recently Skeleton Crew. Some of his other notable shows include Waiting for Godot, Falsettos, Forever Plaid, Blues in the Night, Pride’s Crossing, Cowgirls, and nine Shakespeare plays, including Jack O’Brien’s monumental Henry IV. Born in Chicago and raised on a dairy farm in Wisconsin, Mr. Van Dyke has been a San Diegan since 1989. He has stage managed at Denver Center for the Performing Arts Theatre Company, Arizona Theatre Company, Pasadena Playhouse, Geffen Playhouse, La Jolla Playhouse, Long Wharf Theatre, Kansas City Repertory Theatre, and Mark Taper Forum. He has been the production stage manager of The Phantom of the Opera, Les Misérables, Wicked, Million Dollar Quartet,and Kinky Boots on tour, playing over 100 cities in 36 states and five provinces of Canada, as well as Seoul and Shanghai.
Chandra R.M. Anthenill (Assistant Stage Manager) previously worked on the Globe productions of Camp David and The Comedy of Errors. Her credits as production stage manager include Into the Beautiful North, R. Buckminster Fuller: THE HISTORY (and Mystery) OF THE UNIVERSE, Outside Mullingar, The Oldest Boy, Everybody’s Talkin’: The Music of Harry Nilsson, Oedipus El Rey, and Honky (San Diego Repertory Theatre), Bad Jews, Sons of the Prophet, True West, Fool for Love, Spring Awakening, Assassins, and Company (Cygnet Theatre Company), and Pippin (Diversionary Theatre). Her credits as assistant stage manager include JUNK: The Golden Age of Debt (La Jolla Playhouse), In the Next Room or the vibrator play, The Who’s Tommy, Walter Cronkite Is Dead, Tortilla Curtain, Zoot Suit, and A Hammer, A Bell, and A Song to Sing (San Diego Repertory Theatre) and Dirty Blonde (Cygnet Theatre Company). Mrs. Anthenill is a proud member of Actors’ Equity.
Asolo Repertory Theatre (Co-Presenter), now in its 58th season, is recognized as one of the premier professional theatres in America and one of the largest in the Southeastern United States. One of the few select theatres in the nation that performs in true rotating repertory, Asolo Rep’s highly skilled acting company and extensive craftsmanship bring to life this unique performance method that gives audiences the opportunity to see multiple productions in the span of a few days. Asolo Rep presents up to 15 productions each season, including contemporary and classic works and provocative musical theatre experiences. A theatre district in and of itself, Asolo Rep is committed to expanding its reach into the community, furthering its collaboration with the best theatre artists working in the industry today and cultivating new artists through its affiliation with the Florida State University/Asolo Conservatory for Actor Training. Under the leadership of Producing Artistic Director Michael Donald Edwards and Managing Director Linda DiGabriele, Asolo Rep’s ambitious theatrical offerings and groundbreaking education and outreach programming engage audiences and ensure its lasting legacy for future generations.
Music Theatre International (MTI) is one of the world’s leading theatrical licensing agencies, granting schools as well as amateur and professional theatres from around the world the rights to perform the largest selection of great musicals from Broadway and beyond. MTI works directly with the composers, lyricists, and book writers of these shows to provide official scripts, musical materials, and dynamic theatrical resources to over 70,000 theatrical organizations in the U.S. and in over 60 countries worldwide. mtishows.com.