Dirty Rotten Scoundrels

After last year’s hugely enjoyable, roller-coaster of a ride that was Shrek the Musical, it’s been a long wait to see another offering from Grantham Youth Theatre Society. This long wait is due to the unique way the group operates, coming together once a year to intensively rehearse and perform each production over the course of a fortnight. When I met the members after the show, they briefly explained how it worked, I paraphrase: “Once the committee have decided on the next show, we hold auditions online and have a cast in place before we come together during the summer holidays. We then spend eleven days rehearsing from nine ‘til five, alongside organising the costumes, props and scenery. Finally, we showcase our hard work with three nights of performances. And it is hard work, but so much fun.”

This year’s choice of production was Dirty Rotten Scoundrels, the musical based on the popular 1988 MGM film of the same name and, from the moment the curtain opened, it was clear that the thirteen strong cast (and crew) were ready to embrace the show’s glitzy charm and outrageous comedy. Set against the sun-drenched backdrop of the French Riviera, it follows the shady antics of conman, Lawrence Jameson who makes a tidy living from duping rich ladies out of considerably large ‘wads of cash’. Lawrence was played Jack Dennis who oozed elegance and charisma from the outset and maintained his suave, sophisticated persona throughout. I enjoyed his fruity, comic upper-class voice which had an ‘Austin Powers cheekiness’ at times, and he ably slipped in and out of a cod-German (and Spanish) accent as and when the plot demanded. Jack’s voice was rich and pleasant, and he had good diction which helped keep his lyrics clean and sharp.

It isn’t long before the stylish and classy Lawrence Jameson soon meets the less refined swindler, Freddy Benson, and the two con artists decide to join forces. In complete contrast to Lawrence, Freddy is loud, wild and unpredictable and Kacey Hall captured those qualities effortlessly. Her big, crass and crude performance was beautifully controlled and so watchable. She was not afraid to look ridiculous, push boundaries and commit completely to every moment, but never took anything too far so as to make it uncomfortable. This is a sign of a consummate comic performer. Kacey’s facial expressions during Nothing is Too Wonderful to be True were pure comedy magic as was her outrageous slapstick physicality in the ‘Ruprecht scene’. She had a good, consistent American accent and demonstrated a strong vocal confidence in her musical numbers.

Eventually, the two conmen realise that their small French town isn’t big enough for both of them and so come to an agreement: the first one to hoodwink fifty thousand dollars out of a young, wealthy woman, wins the territory and the other must leave town. Enter Ella Hobday, as Christine Colgate the sweet, good-hearted, slightly awkward American heiress, who immediately brought a natural warmth and new dynamic to the stage. The character begins as bubbly and naïve, but later reveals herself to be a master manipulator, and Ella was convincing in both personas, managing the transition believably. She had a clear, expressive soprano voice and I particularly enjoyed her rendition of Here I Am.

Other notable performances came from Austin Stanley, Charlie Parker and Bethan Stanley. Austin played Andre Thibault, the town’s chief of police and Jameson’s trusted accomplice, and I was incredibly impressed with his French accent. It was gentle, detailed and highly realistic, not at all clichéd or exaggerated. It was an all-round lovely performance from Austin, subtle and measured, and his unfolding romance with Muriel Eubanks was delightful. Charlie played this character, and it was another scene stealer. I really liked her blend of poise, vocal charm and comedic vulnerability, and her singing voice had power and clarity. Her duet with Austin, Like Zis, Like Zat, was a little gem and a highlight for me. Finally, Bethan was great fun in the outrageous cameo role of Jolene Oakes, the brash, country gal from Oklahoma. She displayed a vocal strength and physical boldness which enabled her to command the stage and convince as the larger-than-life force of nature that she was.

Being in the ensemble in this production was no small task, in fact, it was one of the most demanding and rewarding parts of the show. It was made up of Archie Stanley, Evie Cassie, Anastasia Stevens-Brewin, Alexander Sharp, Kacper Laz, Libby Smith and Savannah Murphy, each playing a variety of roles including hotel staff and tourists. All these actors were adept at building the lively, farcical world of this musical and demonstrated versatility, energy, precision and some strong dance skills.

Evie Cassie and her co-choreographer, Bethan Stanley, should be congratulated on their slick and inventive dance routines. I understand Evie only had two days to set the numbers which is no mean feat as the choreography served both style and storytelling and supported the show’s shifts in tone. Direction from Archie Stanley and his co-director, Jack Dennis, was also good. They evidently have a sharp, comedic eye and a nice sense of pace, and handled the contrast between broad physical comedy and pathos very well. Completing the creative team, Farzan Siraj, the musical director, was excellent as was his very accomplished six-piece band. He played a pivotal role in shaping the show’s energy and had clearly worked very hard on the character-driven solos and duets, and the tight ensemble harmonies.

All cast members took on stage crew roles and this worked very effectively and added to the general tight pace of the show. Costumes were fun, colourful and appropriate for the setting and time period. Sound and lighting were strong and well-operated. The set was basic with vibrantly painted (or wall-papered) flats on a revolving triangular prism either side of the stage with projection used to illustrate each scene. This served its purpose but sometimes the stage looked stark and empty. One day, I’d love to see this society perform with a full set to compliment their lovely performances, however I do understand that with time and budgetary constraints this may not be possible.

Huge congratulations to the whole team for delivering a fun, energetic and thoroughly entertaining evening of theatre. With its blend of well-observed direction, sharp choreography, strong musical support and spirited performances, the show radiated enthusiasm and heart. It may have been a story about con artists, but the talent, dedication and commitment behind this production are completely genuine.

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