Sixty years after its Broadway debut, “;Guys and Dolls”; is a musical theater standard that celebrates the colorful street culture of an even earlier era. Diamond Head Theatre's current revival is a delightful escape to that seemingly simpler time.

Professional gaming promoter Nathan Detroit needs a place to hold a big-time craps game, but lacks the $1,000 he needs to secure the location. Detroit decides to raise the money at the expense of high-rolling gambler Sky Masterson and succeeds in snaring Masterson in a sucker bet — persuade a woman to accompany him on a trip to Cuba. The “;sucker”; aspect kicks in because Masterson foolishly agrees that Detroit gets to choose the woman.

Detroit's choice? Prim and virginal Sarah Brown, the young leader of a Salvation Army-type organization trying to save sinners in midtown New York!

With $1,000 — and his masculine pride — at stake, Masterson is determined to give it his best shot.

Larry Bialock (Detroit) and Aubrey Lee Glover (Miss Adelaide) are a cute couple as the harried gambling promoter and his longtime fiancee. Bialock has been a proven talent in local theater for more than a decade and displays his formidable range here, but this is Glover's big break in a major role. She gives a career-best performance that includes maintaining a creditable “;Nu Yawk”; accent and delivering “;Adelaide's Lament”; and “;Adelaide's Second Lament”; as poignant, well-rounded show stoppers. She also shows her skills as a dancer leading the Hot Box Dolls through “;A Bushel and a Peck”; and “;Take Back Your Mink.”;

Lydia Pusateri (Sarah Brown) plays prim and proper perfectly, but does her most impressive work in the Havana scenes when Sarah discovers alcohol, loses most of her inhibitions, picks a fight with one of the local women and flirts with her date. Pusateri handles the physical demands convincingly and distinguishes herself vocally with “;If I Were a Bell.”;

Pusateri shows more of her range in a scene in which Sarah has a heart-to-heart talk with her grandfather (Ralph Brandt, in a fine supporting performance).

Mick Gallagher (Masterson) has the looks, moves and all-around panache of a high-rolling gambler, and seems believable as a guy who could smooth-talk a woman who hates gamblers into a date. It must be added, however, that opening night found him struggling to find the key and hold the notes on the “;My Time of Day”;/”;I've Never Been in Love Before”; sequence that is intended to close Act I on a rousing and romantic note.

Karen G. Wolfe (costume design) surrounds the four leads with sharp-dressed gamblers in brightly colored suits — with Jess Aki (makeup and hair) throwing in a deliberately obvious “;bad toupee”; for Bialock. Christine Yasunaga's opening choreography establishes the frenetic pace of city life and peaks creatively with the Cuban dance scene and the raw energy of the gamblers shooting craps in a sewer.

Johnathan Reed (Nicely-Nicely Johnson) is a key player in several scenes; his big number, “;Sit Down, You're Rockin' the Boat,”; caps a fine performance. Joe Houser (Lt. Brannigan), Lisa Konove (General Cartwright) and Garett Taketa (Big Jule) also make significant contributions in supporting roles.