Interview: Anna Chin On Making Her Stages St. Louis Debut in GUYS AND DOLLS

Stages St. Louis is presenting the classic musical GUYS AND DOLLS at the Kirkwood Performing Arts Center, running now through August 23, 2026. Directed by Tony Award winner James Monroe Iglehart, the production transports audiences into the vibrant world of Damon Runyon's New York, from the glitzy Hot Box to the underground sewers, with choreography by Lindsay Joy Lancaster.

Making her Stages debut as a Havana Dancer and ensemble member is Anna Chin, who most recently appeared in Joshua Bergasse's Broadway National Tour of THE MUSIC MAN as a member of the Dance Ensemble and understudy for Zaneeta Shinn. An apprentice with The New Jack Cole Dancers, Chin's previous credits include New York Fashion Week, Christopher Wheeldon's THE NUTCRACKER, and Jessica Lee Goldyn's HEY PACHUCO. She is a graduate of the Steps on Broadway Conservatory and a current Columbia University student.

BroadwayWorld spoke with Chin about the fiery physical demands of the Havana sequence, the summer-camp energy Iglehart has brought to the rehearsal room, and why she believes audiences will find something universal in Runyonland.

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What drew you to audition for Stages St. Louis' production of GUYS AND DOLLS, and what has this experience been like so far?

I first fell in love with GUYS AND DOLLS while performing a piece with The New Jack Cole Dancers set to 'Runyonland,' so when I got sent the breakdown on Actors Access, I was thrilled to audition. I ended up taping my vocal and sides audition in a hotel bathroom, shower fully in frame, while on tour with THE MUSIC MAN (it was the only place with good lighting!). When I booked it, I couldn't have been more excited to come to Stages St. Louis. I'd always heard it was one of the best regional theater communities, and that they treat their artists incredibly well, and it's been exactly that. Every day, I get to work with the kindest, funniest company in a process filled with joy, play, and creativity. I'll never forget our second day of rehearsals when our music director said, "Oh, you're the one with the BATHROOM self-tape! I have to tell you, that's a self-tape I will never forget. The team and I absolutely got a kick out of it." This just proves that sometimes the most 'imperfect' self-tape backgrounds might just be the perfect ones.

What excites you most about bringing the colorful, larger-than-life world of GUYS AND DOLLS to the stage for St. Louis audiences?

What excites me most is being a vessel for Lindsay Joy Lancaster's incredible choreography to tell deeply human stories. Every movement is intentional, helping us paint a picture of a classic 1950s musical through a modern lens. Sharing the stage with such kind, triple-threat stars makes me wish everyone in the world could witness their brilliance. It's also a joy to perform within Ann Beyersdorfer's impeccable set and Sean M. Savoie's lighting, which seamlessly transport us across NYC, from the glitzy Hot Box to the gritty underground sewers. And it's the privilege of a lifetime to step into Tim Kent's one-of-a-kind costumes, where his masterful use of color theory beautifully exemplifies the characters and their relationship to NYC and to each other. We've created a truly unique world, and I can't wait for St. Louis audiences to escape into our Runyonland.

Can you tell us about the Havana Dancer role specifically? What does that sequence demand from you as a performer?

An insane core workout, and a whole lot of fiery energy! Blending ballroom, Afro-Cuban, and street styles has made this one of the most fun and physically demanding roles I've ever done. When we enter Havana and the spotlight hits me center stage, I hold still for two eight-counts. It's the audience's first glimpse of Havana, so my goal is to make them lean forward before I even begin to dance. I imagine the spotlight as a glowing sun casting golden hour across my face, while the drumbeats build and my body hums with electric energy, each beat charging my muscles before I take a single step. It's a bit like Bob Fosse's idea of a sewing machine needle pulsing in your core, creating rhythm without movement. This number has also taught me how to pace myself. We do not stop moving for eight minutes, and I've learned how to give a full-out performance without burning out.

What has it been like working with Tony Award winner James Monroe Iglehart, and what energy has he brought to the rehearsal room?

James Monroe Iglehart is a DREAM to work with. As such an experienced actor, he has a clear vision for what he wants each scene to build toward. Especially for those of us in the ensemble, he provides a strong framework and helps us understand how the context shapes our point of view, while still giving us the freedom to play. He's also the biggest yapper (sorry to expose you, James, xoxo), so we spend a lot of time exchanging stories. It creates space to bring your whole human self into the room, not just the actor. And it makes rehearsals feel like the best kind of summer camp.

How would you describe the athleticism, precision, and storytelling required to perform the show's choreography, particularly in the Havana number?

The Havana number is truly so full out. The moment you disengage a part of your body, it feels and looks sloppy. So the fun of Havana is that it never gets easy, there will always be more to think about, i.e. squeeze your ankles together in transitions, tight elbows throughout, pull weight when doing lifts with your partners! Oh yeah, and the partnering. That is one of the most fun parts about Havana, is that most of the storytelling is through partnering. When this Havana girl is with Sky, she dances differently than when she is partnering with the other patrons of Havana, because she has a different determination to beckon him into her world, plus they've had previous relations in Havana before. Then when Sky starts to dance with Sarah, she unleashes her territorial rage and begins a whole fight sequence. The partnering from that point on becomes MUCH more thrashy and wild, escalating the story further. A special shoutout to the athleticism and storytelling in the Crapshooters ballet as well. All us Hot Box women take off our wigs and become men in the Crapshooters dance, and it is some of the BEST dancing I have ever been able to do onstage. Lindsay's choreography has us down on the floor one second, then up sky high in the air 0.5 seconds later, all while following along with an exciting dice game. The sheer pace of that piece helps sell the level of risk these gamblers face, and the exhaustive nature of the choreography aligns perfectly with the fact that in the show, these crapshooters have been playing craps in the sewers for 24 hours straight.

Why do you think audiences, whether longtime fans of the show or newcomers, will connect with this particular production?

The. Talent. I truly cannot take my eyes and ears off my fellow cast members when they perform. Our leads have created some of my favorite renditions of the classic songs in this show, and our ensemble has been working tirelessly, using dance as a powerful storytelling medium. Audiences will not only be entertained by this joyously turbulent story, but will feel intrinsically invested as it gets brought to life by some of the wittiest people I've ever met.

What do you hope audiences feel or take away with them when they leave the theatre after seeing GUYS AND DOLLS?

GUYS AND DOLLS is filled with distinctive characters who reflect universal human experiences, whether it's the desire for connection, feelings of betrayal, the eagerness to win, or a love that takes you by surprise, there's something in the show for everyone. I can guarantee you'll leave feeling entertained, deeply moved, and ready to triple pirouette into a dice roll.

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