"Give Them What They Want" - Jerry Mitchell's Dirty Rotten Scoundrels at the Savoy.

By Emily Hardy

Mitchell's direction and choreography of Cyndi Lauper's Kinky Boots captured the hearts of audiences and Tony Award judges alike and now, here he is in London with a re-conceived, re-imagined production of Dirty Rotten Scoundrels - the inaugural show for his production company in association with Ambassador Theatre Group. The musical by Jeffrey Lane and David Yazbek's ran for 626 performances on Broadway in 2005, but there was no promise that Mitchell would match this success nine years later in London, where audiences are arguably more discerning. Mitchell therefore has undertaken a vast challenge but, landing elegantly at The Savoy Theatre, it appears as though the 'King of the grin' may well have another crowd pleaser on his hands.

As a London theatre-goer, what is it that you desire in return for the price of your West End ticket? A good story? An actor you recognise? Sexy maids revealing frilly knicker-clad butt cheeks? If that's what you're after - along with romance, sunshine, champagne and diamonds - then Dirty Rotten Scoundrels delivers by the boat load, with an additional dose of 'je ne sais quoi,' for good measure.

Based on the 1988 hit comedy film starring Sir Michael Caine and Steve Martin, Dirty Rotten Scoundrels is about two con artists (with varying levels of experience) who compete to swindle an unsuspecting fair maiden. The fundamentally Shakespearean plot spins a hilarious web of deception and the pair's actions, fuelled by competition and the burning desire for Great Big Stuff, become increasingly outlandish. Miscommunication, disguise and trickery lead to a unpredictable revelation where both men wind up with a whole lot more than they bet on.

Three time Olivier and Tony Award-winner Robert Lindsay makes a cool return to the stage in the role of Lawrence Jameson, aficionado of the long con. With one gentlemanly click of his fingers, we are transported from the Savoy to Beaumont-Sur-Mer in the glamorous French Riviera, where wealthy women weaken under his charms. Moving with the grace of Astaire, this laid back Lindsay doesn't disappoint, particularly in the second act when his character is forced to tread the unfamiliar territory of genuine feelings. He sings Love Sneaks In with a sudden truthfulness allowing, just for a moment, a little of Lawrence's impenetrable fascia to fade; a revelation well earned.

Opposite him as the "deliciously low, horribly dirty" Freddy Benson is Rufus Hound. Hound (in the role played on Broadway by Norbert Leo Butz) is hilarious, revolting and all sorts of loveable - like a puppy dipped in sewage. In the comedian's skilled hands, the enthusiastic vagabond (with aspirations of gout) brings the majority of laughs. The show goes up a gear when he sings Great Big Stuff, Hound dragging the energy levels up the stairs and through the roof. And is there anyone else you'd rather see do a faux-sexy victory dance in their boxer shorts? No, there isn't.

And then, beaming in bright yellow, is Christine, played by Katherine Kingsley (who recently brought the house down as Lina Lamont in Singing in the Rain). We should suspect from the sheer enthusiasm of Christine Colgate's introductory number (a challenging, upbeat song entitled Here I Am) that this 'Soap Queen' may not be the vulnerable millionaire heiress that the men believe her to be. Pulling the wool over our eyes too, Kingsley creates of a wholly irresistible, layered, unconventional romantic female lead.

The performance I saw wasn't flawless. There is a freedom within the scenes, that allowed the leads space for spontaneity and improvisation, but occasionally caused them to loosen up a little too much. The result of this was at odds with the otherwise luxurious, polished production. However, so charmed were we by these loveable rouges that, when the focus (or the hat) did slip, they were soon forgiven; line clashes attributed to spontaneity or clumsiness attributed to character.

The star of the show however, is not the triad of reputed British actors but is (refreshingly) the score, in the care of musical supervisor Matthew Brind. You couldn't wish for more intelligent and daring lyrics, lyrics that cause you to gasp at their precision and playfulness. The music is sumptuous, eclectic and memorable and there aren’t too many other shows that you can say that about. No, this raucous theatrical roller coaster is not another bland adaptation of a film; the songs tell the story with as much clarity as the dialogue but also accentuate the plot's exuberance, making it something quite unique. Additionally, the irresistibly sweet romance between Muriel and Andre (played by Samantha Bond and John Marques) gives the musical another point of difference. In my opinion, the film, with its likeness to an Elizabethan comedy, was crying out for theatricalisation anyway. Decision justified.

With tasty ingredients, including a set as suave as its subjects, Dirty Rotten Scoundrels provides a delightful and irresistible evening of laughs, romance and surprise. I only hope that people will see beyond the increasing cynicism towards adaptations, because this is not a hollow re- hash but a new piece that stands very much on its own two feet.

@Emily_L_Hardy

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