Theater Reviews : Dreary Sky Chills ‘Guys’ Revival : The musical is basically a one-man show, and at Saddleback, that one man--Sky Masterson--is woefully miscast.

It might seem a simple matter, bringing the Damon Runyon stories that make up “Guys and Dolls” to life. Add Frank Loesser’s vibrant songs and it might seem like a piece of cake. Look again. There’s a stylized magic in this Broadway cartoon, and success is a throw of the dice.

Director Blake Gould, aided immeasurably by musical director Lee Kreter’s excellent pit-band sound, has turned the trick effortlessly in his buoyant staging at Saddleback College’s McKinney Theatre. The flavor is true and the production’s energy almost matches the energy you can feel on the sidewalks of Times Square. Gould’s large company has caught the fever. Except for somewhat lethargic moments in the dialogue sections, the production bubbles and bounces along in fine fettle.

But “Guys and Dolls” is, in spite of its large cast, close to a one-man show. It was Robert Alda’s brash, powerful, hard-edged Sky Masterson that made the original production a hit. Marlon Brando’s effete Sky did the opposite to the film version.

In spite of the solid framework, the miscasting of Richard G. Rodgers as Sky in the Saddleback staging leaves a big hole in the picture. Rodgers has a wonderful voice, but looks and sounds more like a college professor on vacation than the sharpest gambler on Manhattan’s Dream Street. He is un-Runyon and simply too nice.

The difference is particularly noticeable when Rodgers is around Gould’s other gamesters, most of whom look and sound as though they just walked off the pages of a Runyon story. There’s no quibbling with Eddie Driscoll’s tough but hesitant Nathan Detroit, Christopher J. Caputo’s brick of a Benny Southstreet, Victor Mena’s pushy Harry the Horse, Randy Hatfield’s brisk Rusty Charlie and Kevin Hammer’s huge, opaque Big Jule.

They’re all super, and even they are topped by John Massey Jr.’s firecracker of a Nicely-Nicely Johnson. The stage lights up when Massey is on, and his silver trumpet of a voice gives the show its highest highs, especially during his explosive “Sit Down, You’re Rockin’ the Boat.”

*

Susan Hoffman’s Sarah, the Salvation Army innocent Sky uses as a betting piece, then falls for, is delightful, and Hoffman’s big voice does Loesser’s ballads a lilting service. As Miss Adelaide, Diane Vincent brings enough originality to the standard treatment of the character to be a standout, and her chorus line at the Hot Box looks like they used to in 48th Street dives.

Some details work and some don’t: Anthony Houghton’s gentle treatment of “More I Cannot Wish You” to soothe Sarah’s broken heart is charming. Katie Zerga’s overdone caricature of the army’s Gen. Matilda Cartwright isn’t.

Ellen J. Prince’s choreography often is as strong and masculine as it should be, but at the floating crap game in the sewer, the gamblers are doing some very balletic things that jar.

Wally Huntoon’s sets look the way Broadway sets for musicals looked back then, and Charles Castagno’s costumes have the right garish period look. Kevin Cook’s lighting and StephanJonas’ sound design contribute to a production that is so well-balanced, its one big error seems even less forgivable.

* “Guys and Dolls,” McKinney Theatre, Saddleback College, 28000 Marguerite Parkway, Mission Viejo. Wednesdays through Saturdays, 8 p.m.; Saturdays and Sundays, 3 p.m. Ends Aug. 20. $16 for senior citizens and $18 general. (714) 582-4656. Running time: 2 hours, 45 minutes. Richard G. Rodgers: Sky Masterson

Susan Hoffman: Sarah Brown

Eddie Driscoll: Nathan Detroit

Diane Vincent: Miss Adelaide

John Massey Jr.: Nicely-Nicely Johnson

Christopher J. Caputo: Benny Southstreet

Randy Hatfield: Rusty Charlie

Anthony Houghton: Arvide Abernathy

Victor Mena: Harry the Horse

Katie Zerga: Gen. Matilda Cartwright

A Saddleback Civic Light Opera production of the musical by Frank Loesser, produced by Goef English, directed by Blake Gould. Musical direction: Lee Kreter. Choreography: Ellen J. Prince. Scenic design: Wally Huntoon. Costume design: Charles Castagno. Lighting design: Kevin Cook. Sound design: Stephan Jonas. Stage manager: Parker Young.