Dirty Rotten Scoundrels

It might be unusual to begin a report with comments about the sound system but on this occasion the way this enhanced an already excellent production cannot be overstated.  The script for Dirty Rotten Scoundrels is extremely funny and the story very involved so it is vital that every word both spoken and sung can be readily heard.  The Guildhall is not the easiest venue for this so Axminster Musical Theatre opted for one of the best sound engineers.   Every actor, every member of the orchestra was mic'd.  The result was a complete success.   The clarity and balance were superb.

This show had inspired the talented members of AMT and casting was just right.  There were so many very experienced actors in this production.  The characterisation was strong and fearless as it needed to be. Anything half-hearted would have fallen flat on its face.  The director had used the many opportunities for humour in the script and the result was an evening of fun and fabulous entertainment.  Some moments stand out.  The scene when Freddy is in a wheelchair, supposedly paralysed, without feeling, and was being attended to at one stage by Christine and another by Dr. Schuffhausen (Lawrence) were so desperately funny - gales of laughter erupted from the audience.  Thibault was played by a 21-year-old and the portrayal of someone who is presumed to be early middle-aged was very good.  Credit must also go to the make up department for expertly  "ageing" him.

There were many opportunities for the company to be involved in the story.  Nuns, citizens, sailors, gospellers, tea dancers, maids to name just a few of the different characters they became.  The array of costumes in the dressing room must have been mind-boggling.  Congratulations to the wardrobe department for organising and preparing them all.   Hairstyles and makeup also needed to be changed for some of the scenes.   Switching from one character to another is no mean feat but did not prove a problem for these experienced actors,   perhaps though it would have been good to have just a tad more sophistication and innate superiority in the portrayal of the extremely wealthy hotel guests.

The orchestra was placed upstage and in view of the audience.  This arrangement was ideal, assisting the balance of sound and giving sympathetic accompaniment to the voices.  The music is fun and catchy and was played at a good pace by this excellent orchestra.   All the vocal numbers were of a high standard with much of the principles' singing sounding glorious.

The choreography was exciting and fun and skillfully performed by the actor/dancers amongst the cast.

 The stage was simply and attractively set and good use was made of the stage extensions with the hotel bedroom being on stage left and the terrace on stage right.  This coupled with entrances being also via the auditorium and steps to the stage meant there was an easy flow of the action from scene to scene.

The lighting had been planned with much attention to detail.  The different scenes, hotel lobby, bedroom, terrace, train station and so on were complemented by excellent lighting. There was a running gag of the moon appearing over the terrace, almost with a click of the fingers, at just the right moment.  The sound must be mentioned again.  It was so very good and has now become the yardstick by which other productions will be measured.  It cannot be overestimated how much this quality of sound added to the experience for the audience.

This production exuded a feeling of teamwork with great attention to detail.  A very polished production that still retained a feeling of spontaneity and freshness.  The pace was good and the entertainment value was high.  The audience was indeed fortunate to enjoy such an entertaining evening at the theatre.

 

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