Every high school seems to have plenty of dolls, but it can be hard to find enough guys.

Not at McKeesport Area High School last weekend. As soon as 19 committed guys took the stage for the fourth song, "The Oldest Established Permanent Floating Crap Game," I knew its "Guys and Dolls" was in capable hands.

This and "Luck Be a Lady" must be the biggest all-male numbers on any area high school stage this spring.

As director Kimberly Moore said, when she and producer/music director Beth Murphy realized they had so many guys who could sing, they chose "Guys and Dolls" with all its colorful gamblers. It goes without saying they also had the right gals to play the leggy chorines of the Hot Box Revue.

"Guys and Dolls" is one of the classic American musical comedies, coming out of the 1950 heart of what we now know was the golden age. I'd call it one of the top five of all time.

But there's no question that many of its details must seem archaic to some high school performers and, even, their parents.

On the other hand, there was a lot of white hair (mine included) in evidence at the matinee I saw, so somebody was probably getting the passing arcane references to Hollanderizing and Rogers Peet.

And that's peripheral. At the show's center is something anyone can understand: two improbable romances, one between a Salvation Army do-gooder and a rambling gambler, the other between another gambler and a chanteuse with a yearning for babies and a picket fence in suburbia.

Secular-religious tensions and those between playing around and settling down are issues teenagers find in their own lives, let alone in the adult world around them.

The performers caught the good cheer of the picture of raffish gambler/chorine life in mid-century midtown Manhattan, where even the bad guys have a charming cartoon quality. That's emphasized by the slightly stilted mobster-speak that book writers Jo Swerling and Abe Burrows took from their source, the fables and characters of that prose poet of Manhattan, Damon Runyon.

Then there's the Frank Loesser wonderfully rich and varied score, where the excellence of "Guys and Dolls" is beyond any rational debate.

McKeesport has to struggle with a huge hall and airplane hangar stage that no set could ever fill, perhaps necessitating the long blackouts for set changes that bedevil many high schools. But that drawback was moderated by a pretty city drop and some nice set pieces and by the use of a ramp to bring actors out past Dennis Persin's orchestra.

Among the big numbers, I especially liked the dance/brawl in Havana and the mobsters' gathering in the mission for "Sit Down, You're Rockin' the Boat," led with real showmanship by Mark Pavlecic's Nicely-Nicely.

Added vigor was provided by Rachel Popovich's Gen. Cartwright and feeling by David Burge as Arvide, advising his granddaughter, Sarah, with a sweet ballad.

The Hot Box Girls were a treat to the eyes and ears. Choreographer Bethany Bauer properly expected -- and got -- more from them than the guys. They carried off the comic and discreet strip number, "Take Back your Mink," with modesty and aplomb.

Kudos to the tall dancer in the green dress, Kristin Martinelli.

Alaina Harvey's Miss Adelaide led the Hot Box numbers with ditzy appeal and seized the stage with her famous "Lament," in which we learn about the health risks of long engagements. Another strong lead was Ryan Novakovich's Sky Masterson, with his fine voice and unctuous assurance.

Six leads and supporting roles were double-cast, thereby sharing the major opportunities and providing insurance against sickness or other developments. Another McKeesport attraction is its racially mixed cast, a rarity hereabouts.

McKeesport also knows how to support what's on stage with a full program with lots of pictures, an array of colorful, highlighted posters in the auditorium, big lobby displays of photographs and even a small bake sale.

I loved the atmosphere, even though for once I couldn't stay for my favorite part, the excited merging of cast and audience after the show.

For many more pictures and other coverage of high school musicals, go to www.post-gazette.com/theater/hsmusicals.asp.