MainStage Irving-Las Colinas presents Dirty Rotten Scoundrels

Music and Lyrics by David Yazbek Book by Jeffrey Lane

Directed by Dennis Canright

Music Directed by Kelley Poché Rodriguez

Choreography by Kelly McCain

Stage Manager Elissa Deschler

Scenic Design/Set Dresser/Master Carpenter Wendy Searcy-Woode

Lighting Designer Mia Lindemann

Costume Designer Michael A Robinson/Dallas Costume Shop

Sound Designer Keyes Larson

Property Coordinator Michaela Parker

Executive Producers Evelyn G. Hall and David Smith

Orchestra

Conductor Keys 1 Kelley Poche Rodriguez

Keys 2 Scott Clayton

Reeds Ellen Kaner

Electronic Wind Instrument Michael Dill

Bass Andrew Goins

Drums, Percussion, Percussion Programming Jaime Zolfaghari

Keyboard Programming Samuel Martin and Kelley Poche Rodriguez

Cast

Scott Bardin

Clint Gilbert

Briana Berk

Jason Philip Solis

Stephanie Felton

Rowan Gilvie

Caitlin Martelle

Rebecca Litsey

Cathy Parks Bardin

Jordan Justice

Justin Konopka

Cam Hayes

Heather Sturdevant

Brooke Matthews

Grant Hollowell

Adam Seirafi

My thoughts on Dirty Rotten Scoundrels at MainStage Irving-Las Colinas or…great fun despite the glitches.

There’s good news and not so good news about the opening night of Dirty Rotten Scoundrels.

Let’s have the good news first.

This production brought back great memories from 2005 and the Broadway show. Jeffrey Lane’s book about conmen being conned holds up well almost two decades later. David Yazbek’s score is as tuneful and witty as ever and Music Director Kelley Poché Rodriguez and her band of super musicians has it sounding wonderful.

Director Dennis Canright has a sharp eye for casting and the cast and ensemble were very good indeed.

Designer Wendy Searcy-Woode gives Scoundrels a European feel with a set that creates an attractive, upscale French hotel lobby. Michael A. Robinson’s costumes have all the scoundrels and others looking sharp.

There is absolutely glorious choreography from Kelly McCain who has that talented ensemble doing everything from ballroom to hoedown and more. Kudos to all those incredible dancers and you may skip cardio at the gym for the run.

And now the cast.

Rowan Gilvie, unrecognizable in a blonde wig, is the Oklahoma oil heiress Jolene ready to tie the knot with con man Lawrence Jameson. Gilvie is quite the proponent of her state, and her energetic, down-home salute “Oklahoma” is one of the cleverest songs in the score. Gilvie is a belter who brings the song home. She also shows some fine comedy chops reacting to Lawrence’s “All About Ruprecht” which is designed to scare Jolene away.

Jason Philip Solis is the police chief Andre Thibault and assistant to Lawrence in swindling wealthy women. To say that Solis is a wonder is an understatement. He’s a terrific singer and dancer with off the charts stage presence. It was great fun watching him go from tough talker to hot and kinky lover with Muriel Eubanks, a beautiful, wealthy Nebraskan.

As Muriel Eubanks, Stephanie Felton, is amazing. From her first number “What Was a Woman to Do” to her “Like Ziz/Like Zat” duet with Solis and beyond, Felton is both captivating and uproariously funny. The comedy gods who brought Solis and Felton together need to be worshipped as they deliver some of the most sidesplitting humor in the show. Move over Burns and Allen and Sonny and Cher, Felton and Solis have arrived. I could have watched them all night.

What a thrill it was to see Briana Berk as Christine Colgate, the scheming “heiress” from Cincinnati. Just last week a former costar of Berk’s was telling me what a great performer she is and he certainly did not exaggerate. Berk is one of those people who seem to turn up the lights when they come on stage. She has a gorgeous voice and is impossible not to watch. Her scenes with the character of Freddy are gems. I came into Scoundrels unfamiliar with Berk but left a raging fan boy.

Looking at the credits Scott Bardin who plays Lawrence Jameson has, I can’t believe I have not seen him before. According to his bio, Bardin has been active in DFW theater for 40 years. No wonder he is so comfortable on stage. Bardin captures all the charm and enticing demeanor needed to play a man who makes his living off of wealthy women. Bardin’s Lawrence is suavity personified. Bardin has a fine tenor and equally fine comedy skills.

Speaking of comedy skills, Clint Gilbert in the plum role of Freddy Benson, has the market cornered. Freddy is a sloppy third-rate hustler longing to be in the big leagues like Lawrence. He wants “Great Big Stuff.” This role requires both physical and verbal comedy skills, not to mention an excellent singing voice. Gilbert has them all and he gets some of the biggest laughs of the night, especially pretending to be a wheelchair bound soldier to take advantage of Christine. “Love is my Legs” is made comedy gold by Gilbert. Norbert Leo Butz won a Tony playing Freddy and, if the show is ever revived, Mr. Gilbert needs to audition.

So, after all this praise, what could possibly be the not so good news?

It was all technical problems. For the first ten minutes or so, the dialogue was almost inaudible and throughout the evening sound problems persisted. Some jokes didn’t land because they were not heard by half of the auditorium. At first, I thought it was my aging ears, but several people around me were having the same problem.

Also, there were many problems with moving scenery off and on stage, Things seemed to get stuck. At one point, stagehands were on stage during a scene.

These sorts of incidents happen and, although it was distracting and kept Dirty Rotten Scoundrels from being everything it could be, I enjoyed the musical very much. When you have such strong performers, you forget the mishaps. I’m sure these problems will be corrected, and I look forward to returning to the show. There are performances here no one should miss.