Dirty Rotten Scoundrels

Dirty Rotten Scoundrels is a comedy musical based on the 1988 film starring Sir Michael Caine and Steve Martin.

John Whitchurch’s self-constructed set splendidly evoked a version of the French Riviera, as well as the luxurious world in which high-class conman Lawrence Jameson operates. A floodlit back cloth with a balcony up stage, framed by three-dimensional overhanging palm trees looked impressive. Marble effect painted flats that extended past the proscenium arch cleverly created an additional entrance stage right and wing space stage left. The flats used for Ruprecht’s bedroom and the train were simple yet effective. The set would have been enhanced if greater attention had been given to some of the stage dressings for example; the material used in the train windows and bedding being crease free and the barcodes removed from the plant pots - these are minor things which many of the audience would not have noticed. I am also conscious of the limited time you had to transform a school hall into a performance space, congratulations on your achievements with the set.

I loved the floodlit back cloth. This was really effective and helped to create multiple locations and atmosphere. However unfortunately some of the lights did cause a distraction as they scrolled in to position and as spotlights were being focussed. It was great to hear the society had recently invested in additional lighting equipment, no doubt this will enhance future productions.

It was evident director Luke Whitchurch had a clear vision for this production and had an input on the set as the entire performance space was used to great effect. There was a good flow as locations changed when performers moved from upstage to downstage, as well as tabs being used to hide half the stage whilst scene changes took place, a technique used successfully in the last CATS show I watched Addams Family. On a couple of occasions, the tabs at the side of stage partially masked performers sat at the tables upstage, performers also took hold of them as they exited therefore exposing the wings. There were a number of lovely moments between performers, no comedic moment was missed and that is testament to you, particular favourites were the scenes in act two between Lawrence, Freddy and Christine.

Sarah Andrew’s choreography was a challenge for some, yet this was approached with enthusiasm and as a result the dance numbers were a joy to watch, particular highlights were ‘Oklahoma’ and ‘The More We Dance.’

Mark Tromans lead the band perfectly and followed performers as they sung. It was difficult to hear some of the vocals particularly in act one due to the balance in sound however this improved as the show progressed.

The ensemble was kept busy as the director and choreographer used them at every perceived opportunity. This added to, rather than distracted from the action. Everyone had a character from the hotel manager ‘barking’ orders, to the young girl being told off by her mother as she ran through the hotel lobby. This was a great example of how an ensemble can bring an added dimension to a performance.

Dirty Rotten Scoundrels relies heavily on the principle characters and in particular the relationship between them. Nick Toop as Lawrence Jameson and Zack Welfare as Freddy Benson, worked extremely well together, and for each other. Nick had the greatest challenge playing a character older than himself. Nick’s acting ability ensured this was overcome, he delivered his lines with great timing and understanding, a real strong performance. Zack Welfare was exceptional as Freddy Benson. Zack oozed charisma, charm, and did not stop working throughout the entire show, reacting to every line. I look forward to seeing what Zack does next. Vyv Simson gave an understated performance as Andre Thibault which flourished as the relationship with Muriel Eubanks developed. Vyv mastered the French accent and had a lovely tone to his voice. Sarah Middleditch as Christine Colgate and Natasha Musson as Muriel Eubanks gave reassured performances, both had excellent stage presence. Natasha’s delivery in the scene with Vyv was timed perfectly. Finally, Rachel Hoar’s cameo as Jolene Oaks was fantastic, it was animated and energetic - just what was expected and required from the role.

Overall this was an enjoyable performance and you gave the audience ‘what they wanted!’

The society should be proud of this performance.

 

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