This article first appeared in the St. Louis Beacon, March 1, 2011 - While summer on the French Riviera is promising to any cunning con-artist, the posh society proves to be too small for the works of two daringly deceitful men. Parkway Central's recent production of "Dirty Rotten Scoundrels" drew audiences in with some "great big stuff."
Based off the 1988 film, "Dirty Rotten Scoundrels" premiered on Broadway in 2005. Featuring a book by Jeffrey Lane, music and lyrics by David Yazbek, the musical follows esteemed con man Lawrence Jameson, as he meets Freddy Benson, an amateur schemer with high hopes. As the duo's ploys to fool women out of their fortunes collide, they find that the ideal French Riviera is not big enough for two. In a high stakes game in which the loser leaves town, the men are introduced to the seemingly angelic Christine Colgate. Together, they lose sight of who is swindling and who is being swindled.
With a clang of expensive finery and a jolt of electric energy, Parkway Central's impressive players took on the mature musical comedy.
Draping the stage in his luring accent was Jonathan Dinman as Lawrence. Dinman embodied the upper-class trickster with flicks of his wrist and tilts of his head. Playing off of Dinman was Aidan McCarter as Freddy. McCarter encouraged riotous laughter with his enormous gestures in the high energy number, "Great Big Stuff." Katy Strutz tied together the dynamic trio as Christine, the sugar sweet impostor. Strutz had undeniable presence and created splendid chemistry with both leading males. She showcased her impressive vocals and comedic prowess in her duet with McCarter, "Love is My Legs."
Punctuating the show with his hyperbolic French drawl and huge facial expressions was Alexander Tash as Dinman's right hand man, Andre Thibault. Tash shined in his romantic scenes with Ann Pfizenmaier as Muriel, a ludicrous woman fooled by Lawrence. Also notable was Julia Manewith as Jolene Oakes, an "Oklahoma" girl with a big smile and a big voice. Standing up to the energy of the main cast was the large and effective ensemble. Impressive numbers like, "The More We Dance" allowed the quick footed dancers to shine, while a hilarious hotel staff added life to the stage.
A few moments of jumbled steps and pitchy vocals were easily overlooked from an audience entranced by truly remarkable technical work.
First catching the eye was a stunning set design by Nick Bible, Julia Levine and Sarah Davidson. With a movable marble staircase, a drop-down stained glass window, two overhanging balconies, and a scenic backdrop of marble columns, both the construction and painting was inspired. A complex sound design by Maura Madinger filtered all voices and hit all cues. Through all of the intricate dance numbers (smoothly choreographed by Mara Lesser and Max Friedman) microphones remained intact, and reverb was occasionally used to give depth to the space.
Using true flavor and creativity, Parkway Central's musical comedy resonated as a craft of labor and luxury in the minds of all "Dirty Rotten Scoundrels" in the audience.
About the Cappies
The Critics and Awards Program for high school theater - known as Cappies - was formed in the aftermath of the Columbine shooting to celebrate writing and performing arts at America's high schools. It operates chapters across the nation.
St. Louis' program was launched in 2002-03.
This year, 16 schools are participating, producing 32 shows. Some 195 student critics will write nearly 1,000 reviews of the productions.
At the end of the year, the top performers, technicians and reviewers are honored during a Tony-style gala.
The Beacon is happy to help spread the word by printing some of the reviews.
Kassandra King is a high school student.