Dirty Rotten Scoundrels

As with many modern musicals one does not leave the theatre with many melodic tunes humming in the brain, but DRS certainly scores heavily on comedy, though personally I find the plot somewhat contrived. This being my fourth watching of DRS onstage in recent times and my third review, it was only the prior knowledge of MMT and the undoubted talent they can boast that assuaged any pre-show doubts I might have felt. In fact, the plot rattled along with the inventive director Bee Cassidy ensuring the fast paced comedy and pathos were brought to the fore.

Set in the French Riviera in a hotel with casino where suave arch con-artist Lawrence Jameson, superbly played by Steve Nottage was successfully plying his trade on rich gullible women, when news arrived via Lawrence's bodyguard Andre Thibault, that a rival conman, Freddy Benson, known as "The Jackal", had moved into the area and been seen plying his trade on a train.

David Anderson, as the crooked police Inspector Andre who was "thick as thieves" with Lawrence, played this deeper character with studied skill, and had his full share of comedy when later falling for Muriel Eubanks, humorously played by Diane Slater, none better than their bedroom balcony scene and song "Like Zis, Like Zat" (the reprise).

Meanwhile, Freddy Benson, played with humour, pathos and great artistry by Ziggy Szafranski, had hooked up, after a fashion, with Lawrence and they had struck a bet on which would be the first to con $50,000 from the heiress Christine Colgate, with the loser of the bet leaving town. To this end much of the plot unfolded until it became apparent that Christine, played with assurance and panache by Emily Bastin was not, after all, a wealthy woman. She was, however, attractive and the two rivals Lawrence and Freddy accordingly amended their bet to which would be the first "to bed" Christine

The company, led by Lawrence and Andre opened the show in fine style with "Give them what they want", a pacy and slick scene well put over.    We then met Muriel, later to fall for Andre, who had fallen for Lawrence's con and in "What was a woman to do", first with the ensemble and then in the reprise gave us an interesting insight into her character.

Freddy, having now arrived, a fine song and dance rendition of "Great Big Stuff" took place in Lawrence's villa, with Freddy highly impressed at Lawrence's palatial lifestyle and quarters. A warning from Andre about Freddy being merely a "Chimp in a Suit", again with sure footed backing by the principal dancers as sexily scantly dressed maids really hit the mark! The four maids were really splendid and Ellen Fermie, Emma White, Isabel Barrett  and the busy Polly Ashton should feel very proud.

Enter Jolene in a marvellous cowboy outfitted "Oklahoma" romp by Polly Ashton and company, Jolene was intent, to his horror, on marriage to Lawrence. How to escape though?   Easy if one is a suave con man like Lawrence.   Invent a repulsive and ghastly brother!  None other than Freddy in the comedy high-spot of the show as Ruprecht, in fact "All about Ruprecht", an hilarious, inventive and highly enjoyable scene by Freddy and Lawrence to frighten away Jolene, which worked spectacularly well in every way! Methinks the grotesque Ruprecht should have his whole back story told in a musical called "Ruprecht before he was (in)famous!".

After a well directed scene in the Abbey with the ladies chorus and a reprise from Muriel  "What was a Woman to Do", Christine arrived and a wonderful charade  ensued where Freddy assumed the role of a military man in a wheel chair, supposedly paralysed from the waist down. Only when the "world famous"  therapist Dr Shüffhausen was revealed as Lawrence, intent upon tormenting Freddy in the chair, which, in Act Two, he did to huge comedic and sadistic jollity. - at least on his part- did Freddy's torment begin.

A wonderful scene "Nothing is too Wonderful" by Christine and Freddy, preceded a rousing act one finale led by Andre and chorus.

After another chorus opening featuring hotel staff and set in the lobby we were treated to a deliciously painful scene to watch in "Rüffhousin' Mit Shüffhausen" with the tormenting Lawrence and the suffering Freddy.

The chorus "Hotel Yodel" scene also worked well. A sensuous and likeable love song "Like Zis, Like Zat" with Andre and Muriel rounded off the first scene and then the well drilled dancers and chorus joined Lawrence in his villa for "The More We Dance" as he became more attached to Christine.

Back in Christine's hotel suite Freddy had finally managed, "inspired by love" to stagger over to the bed, where he fell upon Christine. This sensationally funny scene, "Love is my legs" was capped off when the chorus, all in black, were revealed watching from a wardrobe.

A moving song, hauntingly sung, set in a train station showed the depth of Lawrence's character. I found this "Love Sneaks In" a powerful and highly effective song and scene.

Much humour was found as Freddy, in his underwear alongside two French maids, appeared bound in ropes, having escaped from two rough sailors, was revealed to have the brass candlesticks in a prominent position, shall we say!  Not surprisingly a certain amount of ribald laughter ensued!

Having finally revealed that Christine, who was certainly the "jackal", had outsmarted them, Freddy and Lawrence, alongside Andre and now in Lawrence's villa had to face up in "The Reckoning" to the awful truth that they had both been outwitted.

The show ended in grand style with "Dirty Rotten Number" on Lawrence's terrace when Freddy and he seemed to come to terms with their fate.   But the Finale when Christine joined them and they all decided to scour the audience for "victims" (though this felt contrived) gave a strong finale to a highly enjoyable show.

The music and singing were well marshalled under the firm control of MD Nigel Cassidy and his ten piece orchestra. I did find the orchestra rather too loud though in "Great Big Stuff". The singing was generally good, sometimes excellent and though no principals had truly exceptional singing voices, most were highly effective and tuneful.

Director Bee Cassidy used her chorus to good effect as hotel staff and guests.    Each played their smallroles with energy and veracity.   The effective ensemble comprised:-

Usherette         Emma White
Renee              Joan Cannell
Croupier           Ian Cannell
Lenore             Isabel Barrett
Sophia             Ellen Fermie

Some nice touches included a comic bellboy treading on a dog by mistake, a realistic looking roulette table and scene with Iain Cannell as French croupier, Freddy's yellow inflatable bed and big sunshades, Jolene's big blonde wig and leather boots and in fact the whole cowboy song and scene. I would also praise her Oklahoma accent.

I also liked the few bars from "Phantom of the Opera" and Dr Shüffhausen's "wrong Christine". This type of skilful and clever touch elevates a show to be a cut above, which this one was in so many ways.

Choreographer Lyn Menzies had drilled her company extremely well and her routines were crisp, effective and of a high order. MMT would be wise to use this talented lady again and soon!

Costumes were really good, well fitted and under the eagle eyes of wardrobe ladies Joan Cannell and Valerie Abercrombie, made a strong impression. Effective lighting was by Richard Pike, still young but already highly experienced. Stu Sounds provided sound, again of top quality.

I want to say a special word for the excellent programme, designed by Ellen Fermie. Well laid out, with top quality rehearsal pics, cast biogs, interesting Chairman's notes by Ziggi Szafranski (AKA Freddy) and a most welcome and informative whole page on NODA. We reps are always grateful when this happens. I should add that this programme is among the very best I have seen this year.

All in all a highly enjoyable, pacy show with clear dialogue, excellently staged and performed and one of which this immensely likeable company will surely feel rightly proud!

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