Dirty Rotten Scoundrels

The Show

Stage musical versions of non-musical films don’t always live up to the quality of the movie they’re based on. This is an exception. While the 1980’s film was amusing and relatively successful, the stage musical version is a distinct improvement. Basically the same story, the excellent music and clever lyrics give extra dimension to the characters and a new originality to the plot. The show is comparable to the Mel Brooks musicals for its ribald comedy, slick dialogue and delightful inappropriateness.

In this Steve Elliott production, Leicester Operatic Players made the most of the gifts the script offers – catchy music, well-drawn exaggerated characters, brilliant comedy and a lovely ‘twist’ at the end that at this performance even drew a few ‘wasn’t expecting that’ gasps from the capacity audience.

The Cast

The show opens with Lawrence Jameson, the urbane confidence trickster making a good living on the French Riviera cheating wealthy ladies out of their jewellery. Chris Hiam gave an authentic interpretation of this sleazy character and set the scene for the story about to unfold. Chris’s acting, movement and smooth singing as well as his suave appearance gave a convincing portrayal of this dubiously enjoyable character.

Lawrence’s command of his Riviera ‘manor’ is challenged by the arrival of Freddy Benson, a brash and vulgar upstart with similar criminal intentions though operating at a lower social level. Freddie Perkins brought a delightful characterisation to this likeably revolting rogue. His physical comedy, together with Lawrence’s sophisticated style gave this show its very strong running theme.

Having met and decided to try a joint approach to fleecing wealthy ladies, an early target is Jolene, a rich American from the Southern States, looking for her next husband. Jolene only appears in the first act of this show which in some respects is a pity, as Rachel Wheeler's lusty and exuberant performance as the lively American, particularly in her rousing number Oklahoma, was a joy. The scene where Jolene is dissuaded from marriage to Lawrence when he, with Freddy’s repulsive help, stages an invented introduction to the more disturbed side of his family, in All About Ruprecht, was hilarious.

A parallel storyline is that of attractive and wealthy Muriel Eubanks, one of the women who have been happily defrauded by Lawrence, and her developing relationship with Lawrence’s ‘bodyguard’ André Thibault, played with an imposing presence by Allan Smith. As  Muriel, Alexandra Elliott’s comedy acting and  strong singing voice were evident in her opening song with the other Riviera Ladies What was a woman to do? and in her risqué comedy duet with André Like Zis, Like Zat.

The leading principal female character in the show is Christine Colgate, the supposed ‘Soap Queen’ who Lawrence and Freddie compete to defraud of her assumed fortune, but who turns out, in fact, to be in the same criminal line as them. Christine was portrayed here by  Lizzie Bywater-Florance, in a lively performance combining Lizzie’s strong song, dance and comedic talents.

The show’s principal line-up was supported by a well-drilled ensemble. Their movement and dance, and that of the principal characters, was a credit to locally-trained Choreographer Demi Leigh Essex.

The Production

Overall credit for effective production, and a successful and entertaining show, well-planned and executed, goes to Director Steve Elliott. This production brought out the absorbing storyline, the interactions between different character personalities and story motives, the very important comedy, and the sheer entertainment value of this show. The performances were well supported by strong Musical Direction by MD Gareth Wynne who produced the musical best from the leading actors and ensemble, and the fifteen-strong orchestra and offstage singers.

The Technicals

The technical side of the production was unobtrusively effective. The set made effective use of a stage space limited by a hidden orchestra. Scene changes were few, and mostly achieved with minimal disturbance, these being achieved by simple introduction of stage props. The setting for the train conversation was possibly a little too simple to convey the location of this small but significant piece of the action, but otherwise all settings gave a clear picture.

Lighting was uncomplicated but effective in portraying a sunny Riviera bolthole for the wealthy and, together with Sound, well-controlled with some lovely synchronisations (gunshots, an injured ‘miaow’, and Lawrence’s ‘finger-click’ to close the show). Congratulations to Stage Manager Nadine Hall, Tom Brooks (Sound), Andy Crooks and Douglas Finlay (Lighting) and Steve Elliott (Set Design), and their teams for the accomplished technical management.

Costumes throughout the show, under the supervision of Lucy Vickery and Carla Smith, for principals and ensemble, were effective, attractive and numerous.

 

All in all, an extremely enjoyable production from this long-established Leicester society. It was good to meet with Director Steve for a brief chat at the end of the show. We agreed that the Dirty Rotten Scoundrels musical isn’t performed as often as the show deserves.

Our thanks to Chair Lucy Vickery for inviting my wife and me to the show. We look forward to seeing her and the LOPs company again at the 2027 production.

 

Colin Blackler

Noda                                April 2026

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