Lincoln Community Theater’s latest summer production, Guys and Dolls, opens with the kind of buoyant energy and warm-hearted charm that has long defined the venue’s reputation. But amid the bustling gamblers and street-smart dames, it was Delavan's own Alison Knapik’s portrayal of Sarah Brown that stole the spotlight and held it firmly in place.

From her first entrance across the crowded streets of Broadway with fellow Save-a-Soul missionaries, Knapik exuded the poised resolve of a woman caught between spiritual duty and a heart she’s only just learning to listen to. Her performance was never stiff or sanctimonious—instead, it pulsed with earnest conviction and subtle vulnerability. In lesser hands, Sarah could read as a plot device; under Knapik’s stewardship, she became a woman to root for.

Jill Usherwood lit up the stage with her comedic timing and vocal finesse as Miss Adelaide. Her rendition of “Adelaide’s Lament” earned genuine laughter, striking a perfect balance between humor and pathos. Usherwood brought layers to the role—not just the neurotic showgirl but a woman who, despite over a decade of disappointment, still believes in love and change. Her scenes with Jeff Prince's Nathan Detroit added a dynamic pulse, with every sigh, glare, and punchline delivered with flair.

Both Knapik and Usherwood were utterly believable in their roles. They didn’t merely portray Sarah and Adelaide—they inhabited these characters fully, giving them emotional texture and a lived-in authenticity that elevated the production beyond performance and into character truth. Their presence grounded the musical’s high jinks in genuine feeling. 

The duet “Marry the Man Today,” featuring Knapik and Usherwood, stood out as a pinnacle moment in the performance. Their vocal interplay was both stunning and slyly funny as their characters conspire to reform their respective men—Nathan Detroit and Sky Masterson—after marriage rather than before. The number’s blend of romantic optimism and comic strategy was delivered with precision and sparkle, earning audible delight from those in attendance.

Knapik’s vocal work throughout the evening was both technically solid and emotionally resonant. Her rendition of “If I Were a Bell” was a particular standout—laced with just enough giddy recklessness to signal Sarah’s internal tilt, without ever compromising the character’s integrity. That nuance is hard to pull off, yet Knapik did so with a twinkle in her eye and a voice that filled the auditorium like warm spring rain.

Opposite the rakish Sky Masterson, played with suave bravado by Dave Helm, Knapik found not just romantic chemistry but ideological tension, and she leaned into it. Their Havana scene crackled with a blend of physical comedy and restrained longing, and her ability to both challenge and soften Sky made their arc far more affecting than expected in a musical often known for its flash over feeling.

While Guys and Dolls has plenty of showstoppers—from “Luck Be a Lady” to “Sit Down, You’re Rockin’ the Boat”—it’s Knapik’s quieter moments that linger. Her final scenes, where conviction and hope intertwine, offer a masterclass in restraint.

The production design paid loving homage to the bustling streets of New York and the tropical flair of Havana. The scenery was simple and understated, allowing performers to own the stage without needless distraction—a choice that emphasized character and emotion over spectacle. Clever lighting choices underscored emotional beats, while vintage costumes gave the show a time-period polish. Director Derry Dalby maintained a brisk pace that never rushed character moments, allowing both comic mischief and romantic sincerity to shine.

This production of Guys and Dolls runs July 24–27, 2025. Thursday through Saturday at 7:30 PM, and a Sunday matinee at 2:00 PM. Ticket prices are $16 for adults, $11 for students. If purchased with cash, a $1 discount per ticket is applied.

With strong ensemble work and brisk direction, the production itself delivers a spirited homage to mid-century Broadway. But it’s Alison Knapik’s Sarah Brown and Jill Usherwood's Adelaide that give this revival its beating heart.