Frank Loesser’s Guys and Dolls is one of the select number of Broadway musicals (including A Chorus Line and 42nd Street) actually set in the American ­theatre district, although its male characters, derived from Damon Runyon’s stories of low-life card sharps, eschew the shows to huddle in the shadows beneath the neon, playing an illegal game of craps that concludes, fittingly, in a sewer. While the guys – who include Nathan Detroit, scheming to avoid the police and marriage – are driven by gambling, the dolls – such as nightclub singer Miss Adelaide, approaching her fifteenth anniversary as Nathan’s fiancée – are obsessed with romance, and the genius of the piece is the way that Loesser’s songs and the script by Jo Swerling and A