UNR Theatre is officially back and better than ever. From the top-tier performances to the vibrant costumes and the stunning set design, every element came together to create a show that felt professional, fresh, and full of heart.
But let’s clear up a significant point: live music has been a vibrant part of UNR Theatre’s recent history, not just this production. From orchestras in shows like Assassins to the dynamic ensembles in Cabaret and the student-directed 9 to 5 featuring live pianists, UNR Theatre has consistently showcased the talents of real musicians, enriching each performance and honoring the hard work of these dedicated individuals. Our previous statement overlooked these contributions, and we are happy to correct the record.
In Guys and Dolls, the tradition of live music continues to enhance our theatrical experience. Although it wasn’t a full pit, the presence of live instrumentalists—our first since the pandemic—elevated the entire production, adding warmth, dynamism, and a level of energy that simply can’t be replicated with pre-recorded tracks. The interplay between the singers and the musicians brought an organic, electric feel to the show, making moments like “Luck Be a Lady” and “Sit Down, You’re Rockin’ the Boat” feel bigger, fuller, and more immersive. The difference was night and day, and we hope this signals a permanent return to live accompaniment in all future productions.
This entire cast could SING. Not just “carry a tune” sing, but belt out Broadway-worthy powerhouse performances. Every harmony was tight, every solo was breathtaking, and every ensemble number had the kind of big, full sound that makes a musical truly feel alive.
Elysia Martinez as Sarah Brown delivered a flawless performance, balancing her character’s initial prim and proper demeanor with the fiery passion that emerges later in the show. Her voice was crisp, controlled, and full of depth, making “If I Were a Bell” a standout moment of the night. Her chemistry with Sky Masterson, played by Marco Bisio III, was electric, making their romance feel both believable and compelling.
On the comedic side, Zoe McCracken as Miss Adelaide was absolutely phenomenal. Every single scene she was in was a highlight, from the hilariously neurotic “Adelaide’s Lament” to the show-stopping ensemble numbers. She was the beating heart of this production, bringing both humor and unexpected emotional weight to her performance. She had the audience in stitches one moment and pulling for her the next—a true star.
Bisio III as Sky Masterson was the definition of effortless cool. He nailed the classic suave gambler persona, but what made his performance special was the depth he brought to the role. His voice was velvety smooth, making “Luck Be a Lady” one of the night’s most memorable moments.
Meanwhile, MJ Boga as Nathan Detroit embodied the nervous, fast-talking con man with absolute perfection. His comedic timing was impeccable, and his back-and-forth with McCracken’s Adelaide was hilarious and heartfelt. He made Nathan both lovable and exasperating—the perfect combination for the character.
And then there was Richie Fericks as Nicely Nicely Johnson, who took the already iconic “Sit Down, You’re Rockin’ the Boat” and turned it into a full-blown, barn-burning, thunderous showstopper. The sheer vocal power, the charisma, the comedic brilliance—unreal. The audience was clapping along, fully caught up in the moment; and when the number ended, the ovation lasted longer than any other in the show.
The set design was next-level. The production transported the audience straight into the world of Guys and Dolls with a visual spectacle that made every scene feel immersive. The flashing neon of Times Square, the gritty underground gambling dens, the romantic glow of Havana—every location felt distinct and vibrant. Scene changes were seamless, with clever staging that kept the momentum going without slowing down the action.
Lighting played a huge role in setting the mood, from the dim, shadowy glow of the craps game to the soft, golden hues of the romantic duets. And the costumes? Perfection. Adelaide’s showgirl outfits sparkled, the gamblers’ suits were crisp, and even the Hot Box Dancers’ ensembles felt era-appropriate and full of personality.
Even though it wasn’t a full pit, having real musicians in the production added a depth and authenticity that was impossible to ignore. The slight tempo changes, the natural dynamics, and the energy of live accompaniment made every number feel more organic and alive. It gave the actors room to breathe and react, making the musical performances feel like real moments rather than rehearsed sequences.
This is exactly what UNR Theatre needed—a return to big, ambitious productions with live music, high energy, and fully realized performances.
This wasn’t just a great college musical. This was a legitimately fantastic production, one that could rival professional regional theatre. The performances, the set, the costumes, and—most of all—the LIVE MUSIC combined to create a theatre experience that felt thrilling from start to finish.
After the mess that was Assassins, I was worried about where UNR Theatre was headed. But Guys and Dolls? This was a statement. A statement that this department is back on track, that it’s willing to go big again, and that it has the talent to pull off something truly special.
Kudos to everyone involved—this was UNR Theatre at its finest. If this is the future of the program, I’ll be front row for every show they put on.
