Savoy, London
22nd March, 2014 matinee
Please note that I saw a preview of Dirty Rotten Scoundrels. Opening night was 2nd April.
With its perfect casting, impressive Art Deco design and
diverse score, Tony-Award winning director Jerry Mitchell’s production of Dirty Rotten Scoundrels finally opens in
the West End. It has the postmodern humour of The Book of Mormon and the suave style of a classic American book
musical, but Scoundrels admirably stands
out from other West End musicals.
Based on the 1988 film starring Steve Martin and Michael
Caine, the plot focuses on two competent conmen in the French Riviera who compete
to scam a wealthy heiress. We first meet Lawrence (Robert Lindsay), a seasoned
swindler who convinces us he has the whole of Southern France in the palm of
his hand. But he’s not in it for the money; it’s the game itself that he enjoys.
His opening number (revised from the Broadway production) ‘Give Them What They
Want’ gives Lindsay a chance to show off Lawrence’s charm with the ladies, his
faux bonhomie and ability to take on different guises at the drop of a hat.
Speaking of which, I’m not sure if it’s in Lindsay’s contract to have a hat for
every theatre role, but he sings, dances and hat manipulates with aplomb. I
last saw Lindsay (a fellow East Midlander) at the Derby Theatre in Onassis and he still performs with such
vitality that the first number alone evokes the exhilaration that a musical is
meant to deliver. There aren’t many performers like Lindsay and you’ll think
that he was born for this part.
Of course, the game of deception speaks not only of conning
but also of acting itself – and this is why Mitchell’s casting works so well. You have the veteran consummate performer of
Lawrence/ Lindsay coupled with the talented newcomer Rufus Hound (playing
Freddy). Even the programme notes for Lindsay and Hound indicate their
different paths to Scoundrels, but
they have great chemistry as this unlikely double act. Lawrence and Freddy jostle,
play dirty and can work together brilliantly through several plot turns in
order to out-con each other. When Lawrence disguises himself as the
Lichtenstein psychiatrist Dr Shuffhausen, he tickles the wheelchair-bound
Freddy with a feather and whips his legs with a cane in order to break his act
and win their bet of tricking the wealthy Christine Colgate (Katherine
Kingsley). It is just one of the moments of hilarity, another being the
Ruprecht scene where Lawrence and Freddy work together to convince Jolene that
she wouldn’t want to marry Lawrence when the socially challenged Ruprecht
(Freddy in disguise) is the third person in the marriage.
Samantha Bond and John Marquez provide an endearing sub plot
of Muriel (another woman tricked by Lawrence) and Lawrence’s French aide,
Andre. The two fall in love, their language differences being overcome in the
very funny and memorable ‘Like Zis/ Like Zat’. Their dance sweeps the whole stage
of the beautiful (also Art Deco) Savoy in a nod to classic musicals like Top Hat. The scene is a reminder of the strength
of Mitchell’s choreography, which impresses throughout the show with each number
receiving well-earned applause. Marquez plays Andre as if he could be hapless
and cunning depending on what Lawrence requires of him, with only Muriel
bringing him out of his shell. Bond is equally impressive as the fairly
gullible woman from the Home Counties and looks like she is having a whale of a
time.
One thing which is different about Scoundrels is its self-awareness. It sets up the show’s light
heartedness and means we can connect with the two leads as their rotten
nature is balanced with a tongue-in-cheek knowingness. Indeed, ‘Give Them What
They Want’ couples with the closing ‘Dirty Rotten Number’ to frame the show as
a theatrical treat which fits the bill as a musical comedy. As a balcony that
Muriel and Andre are leaning on lowers back down under the stage, Muriel remarks
‘Is it me or is this balcony moving?’; the second act opening in the same way
that act one closes sparks a ‘Haven’t we already done this bit?’; and there is
plenty of involvement of the musical director Richard John. It might not be
everyone’s cup of tea and perhaps doesn’t give the show a bold tone that would
make it a classic musical, but it certainly is enjoyable. For instance, when
Lawrence manages to find himself engaged to the simple country girl from Oklahoma, Jolene, his banter with the MD perhaps goes on a bit too long considering we
know it’s part of the plot, however the humour of Lindsay’s panicked dance is
heightened by the closeness between the audience and him.
Katherine Kingsley is extremely impressive as the American, seemingly-naïve
Christine and gives the show the vocal power that it needs. However, Rufus
Hound also packs a punch in ‘Great Big Stuff’ and his talents as a comedian are
put to good use keeping the gags in good hands and the physical humour convincingly
fresh. I’m sure I saw his first performance in One Man, Two Guvnors and he is certainly proving himself as a
great, comedic stage actor. Lizzy Connolly gives entertaining support as the thigh-slapping,
enthusiastic Jolene and the ensemble all perform Mitchell’s choreography with
sexy, energetic flair. Their work is certainly appreciated.
Some comments on the theatre forums have noted that David
Yazbek’s songs are not that memorable but they do the job of keeping the story flowing and I was
soon reminded of them during a quick listen on YouTube. The score uses a mix of
different styles which blend well together, especially in ‘Son of Great Big
Stuff’. Yazbek’s lyrics, though, are certainly catchy, funny and clever as in “The
skies are French, these pies are French, those guys are French, these fries are
French” in ‘Here I am’. They bring out the sweetness between Andre and Muriel
in ‘Like Zis/ Like Zat’ and bring out the weirdness of Ruprecht in ‘All About
Ruprecht’. And finally, Peter McKintosh’s designs certainly deserve an award
nomination next year. The colourful costumes and ever-surprising set-pieces
reflect the wealth and gaiety of Beaumont-Sur-Mer. I agree that the boldness of
the design perhaps makes it difficult to place the setting in the present but
it carries a brightness that is appealing and joyful.
Whatever people might think of the show, there is no doubt
that Mitchell’s production is a five star one simply for its slick execution
and fine performances.
Dirty Rotten Scoundrels runs at the Savoy Theatre until 29th
November, 2014. I really want this to do well. Also, it would be great to have
a London cast recording….
