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Regional Reviews: San Francisco Dirty Rotten Scoundrels Also see Richard's reviews of Standing on Ceremony: the Gay Marriage Plays and Bauer
Beyond that, however, things get a lot murkier. From the bland and nearly dimensionless set to the so-nondescript-as-to-be-almost-nonexistent lighting design to the loose, muddy sound of the orchestra and harmony-free efforts of the chorus, there are almost as many reasons to give this production a pass. But underneath it all is that show, and those songs. Dirty Rotten Scoundrels began life as a movie starring Steve Martin as Freddie Benson, and Michael Caine in the role of Lawrence Jameson (played here by Barry Martin), a suave and sophisticated con artist living in a resort town on the Riviera. Freddie's arrival in town threatens to upset the more senior swindler's summer of separating wealthy women from their cash. The plot here is basically unchanged from the film. When Freddie sees how skilled Jameson is at the game, he sings of his desire to learn at his feet so he can cruise in the same rarified air of wealth and luxury, in the delightful paean to possessions "Great Big Stuff"—"I just wanna be loved ... for my money!." So when Jameson and his accomplice, the local police chief Andre (Larry Williams), need Freddie's help to rid them of an especially clingy mark, they consent to teach him a few things. Until, that is, the "American Soap Princess" Christine Colgate (Taylor Bartolucci DeGuilio) arrives in town and the two con men bet on who can be the first to wring $50,000 out of her. It's a silly story with many twists and turns, some clever dialogue, and several groan-worthy puns ... but it keeps you engaged, even with a two hour and 40-minute running time. If only the rest of the production was as appealing. Alas, only Broadhurst's voice really matches his character, and he is the only performer on stage with the chops to handle the demands some of the songs make of singers. In her entrance number, "Here I Am," DeGuilio makes it through 95% of the tune sounding pretty solid (except for her wild, untamed vibrato), then loses contact with the proper pitch in the last few bars, as if she doesn't have quite enough breath to make it all the way to the end. Despite her vibrato and these (thankfully rare) pitch problems, DeGuilio generally has the vocal strength to deliver the belt when required, and is mostly a solid comic foil for Broadhurst's antics as Freddie. Completing the troika of main characters is Barry Martin's Lawrence Jameson. Though his baritone is pleasant enough, he too has trouble with flatness and lacks the unctuous snobbery that's required to complement Freddie's crassness and Colgate's seemingly fresh-scrubbed innocence. The sets seem to have been inspired by the poster from the original Broadway production—and are just as flat. There's a scene that is supposed to take place in a train car, but the way director Craig Miller stages it, it looks like they are in a sidewalk café that a train conductor walks through from time to time. The chorus, especially the women, have a very difficult time singing both in unison and in harmony. There are several times during the show where their attempts are more than just un-harmonic, but actively dissonant. Yet despite all this, this production offers theatergoers a very entertaining evening. The number "All About Ruprecht" is alone worth the price of admission, and Amy Webber (as Jolene, the mark Freddie helps send packing in the first act) has a wonderfully sassy, brassy voice. But this really is Broadhurst's show. For a comic actor, playing Freddie Benson must be a treat. You get to be crass, suave, silly, romantic, broad and subtle—all in an evening. The role requires tremendous physical comedy skills, not to mention a big voice. Broadhurst delivers on all counts, especially with that malleable face of his that gets twisted into all sorts of configurations in "All About Ruprecht" and "Ruffhousin' Mit Shuffhausen." His powerful tenor is very similar to that of Norbert Leo Butz, who originated the role on Broadway—which is a very good thing. Thanks to Broadhurst's skills—and the talents of book writer Jeffrey Lane and composer/lyricist David Yazbek—there are just enough reasons to put this production of Dirty Rotten Scoundrels on your calendar. Dirty Rotten Scoundrels runs through April 13 in the GK Hardt Theatre at the 6th Street Playhouse, 52 West 6th Street, Santa Rosa. Shows are Thursdays, Fridays and Saturdays at 8:00 p.m., and Sundays at 2:00 p.m. Tickets are $28 general, $23 for seniors and youth 13-21) and $15 for children 12 and under on Thursdays, $35 general, $30 for seniors youth and $15 for children on the weekend. Tickets are available online at www.6thStreetPlayhouse.com, by calling the box office at (707) 523-4185, or during Box Office hours.
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