Dirty Rotten Scoundrels

WOW! WHAT A SHOW!!

Shall I begin at the beginning with the Orchestra under Mark Sharp, and what a balanced sound with this difficult score, so smooth, with pace, and evocative of period, not once overwhelming the cast and just perfect (my NODA guests very impressed).

On to the visuals with the set created for this impossibly difficult stage (no wing space and no height) from Little Shop of Hires, those atmospheric archways suitable for terraces in the south of France created the mood and allowed for the imaginative lighting design from Matt Cross, the balconies moving, the swift and precise insertion of the front pieces and furniture (all choreographed in style), no stops in this fast moving piece of theatre. Good costumes to create the period from Costume Workshop, Isle of Wight.

And the creative team of Director Martin Rodwell (of proven talent and capability), new young Choreographer Georgie Kemp with her slick and stylish routines, and MD Mark Sharp assisted Joanna Kemp as chorus mistress, were just such a dynamic team that this had to be a great and successful show, and certainly they attracted the best for their cast.

The ensemble of dancers and chorus must be congratulated for their energy, their precision moves to create ‘the pictures’, the well drilled dance moves and full volume vocals: not so much ‘chorus’ work in this show as in some others but very worthwhile and very well presented, especially in the minor one-liner bit parts.

As the rich ‘cowgirl’ Jolene, April Nash was more than OTT with her huge voice and personality, and that full stage cowboy routine for all, no wonder that the men could not cope with her!

Amanda Howell as Muriel showed her experience in all directions with her usual great style of acting, her elegance, singing, movement, and the whole character atmosphere with timing and her professionalism.

What a dream of a part for Matt Scantlebury as Andre Thibault: all his well-honed timing and comedy expertise plus those well recognised acting skills to the forefront as he almost stole the scenes as the lawyer (and might have done so except for the calibre of the others on stage), a remarkable portrayal in smooth tones and moves and interaction with all on stage.

A pint-sized bundle of energy, dynamic moves and dance steps, full-on vocals, personality plus, Andrea Wilson looked good as she coped with the approaches from the men and their competition for her money, definitely a match for her previous success as Calamity Jane but with that extra style needed for Christine Colgate, a performance to light up the stage. And the twist at the end, clever and not anticipated, but perfect.

And finally to the two men as the rotten scoundrels: Lawrence and Freddy who just perfected the interaction with the mood changes, the extra and above expectation of being perfect foils to increase their characters and roles of the older and younger ‘con men’, what casting!

As Freddy, Joseph Betts had the correct casual feel, but that voice is to die for, and his whole approach to react with and try to outdo the older man and to pursue the lady with energy showed the acting skills developed over many roles, certainly the man for the part.

Having directed ‘The Winslow Boy’ in February, I am amazed that Peter Howell could go straight into Lawrence, but what a part for him. His whole smooth style, diction, approach to all the other characters and the interactions with all throughout, the looks and perfect interpretation and understanding of the role, the timing, the mood changes, were a master class for all on stage and in the audience, worth the walk along the length of the pier alone (but the whole show was so good).

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