Tag Archives: matt graham

Dirty Rotten Scoundrels, but oh so good …

The original Dirty Rotten Scoundrels was a 1988 movie with Steve Martin and Michael Caine.  I can’t remember if I ever saw it, or if I just saw the trailer in a theatre and got a general sense of it – a goofy story of con artists trying to beat each other at their shared game.

Dirty Rotten Scoundrels is also a musical, with music and lyrics by David Yazbek, who seems to have a career of making unlikely movie comedies into musicals that one would never expect, such as Full Monty and Women on the Verge of a Nervous Breakdown (Plain Jane did this one last spring but I didn’t write about it) The musical is currently being performed by the local company Foote in the Door Productions.

I didn’t really remember anything about the plot or characters of the movie when I went to see it opening night, and I decided not to listen to the soundtrack ahead of time.  It was a lot of fun this way. I could immediately pick out the character tropes (Russ Farmer as the sophisticated English con artist and Trevor J as the uncouth American one, Melanie Lafleur as a rich gullible visitor to the Mediterranean resort and Zack Siezmagraff as a crooked French police officer who reminded me of Captain Renault in Casablanca.   But the plot had a lot of twists I didn’t anticipate, and both the storyline and the general character ridiculousness had me giggling a lot.   I asked director Carolyn Waye beforehand what she’d most enjoyed about working on this production.  She said that they had all laughed a lot during rehearsals, and she couldn’t wait to watch an audience enjoy the bits they’d already had so much fun with.

I was so caught up watching the interplay of the two con artists with their various marks and allies, along with some delightful dance interludes (highlighting Megan Beaupre, Julia Stanski, Tim Lo, and Andrew Kwan) that it took me a while to realize that I hadn’t yet seen the other Foote in the Door principal, Ruth Wong-Miller.  She appears later, as Christine Colgate, the American Soap Queen.  Both scammers see Christine as an ideal target, so they decide to compete for her money, the loser to leave town.

The songs had very clever lyrics and enough changes of genre to be interesting, especially Shannon Hunt’s “Oklahoma” and the cheesy rock ballad “Love is my Legs”.  Matt Graham was musical director of a nine-piece ensemble, visible behind sets of French doors and acknowledged occasionally by the script when characters called for changes of atmosphere, but never overpowering the singers.

This show is a lot of fun.  The two hours flew by for me, and the endings were surprising and satisfying.  Foote in the Door has tackled some more serious material (Carousel) and more complex drama (Company) – but I think it’s equally impressive that they pulled off this heist of a tall tale without a hitch.

Dirty Rotten Scoundrels is playing at L’Unitheatre until November 10th.  Tickets are available through Tix on the Square

scoundrels

Trevor J, Ruth Wong-Miller, Russ Farmer, Melanie Lafleur, and Zack Siezmagraff. Photo by Nanc Price.

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Day seven: Rocket Sugar Improv and Dogfight

Sometimes a busy Fringe day doesn’t mean seeing lots of shows, and sometimes trying to do too many things in one day means messing up and missing the start of a show at a distant venue because of not remembering the right time or getting involved in a conversation.  I’m sorry I won’t be seeing The Real Inspector Hound after all, and I hope to catch Ask Aggie later.

Yesterday I started the day with Rocket Sugar Factory at the Telus Stage.  Improv partners Jacob Banigan and Jim Libby, based in Austria, come to Edmonton Fringe each year, and musician Jan Randall joins them and enhances their shows with playful piano and additional repartee.  The audience for the early show seemed to be full of people who had seen them before.   This year, apparently, they’re using a different improv structure in each show.  In the one I saw, they played a couple of stories, then after each they asked the audience to identify a point at which a character might have made a different decision, and then they showed an alternative ending.  One scene started with an audience member’s story about encountering a crabby lady in the grocery store.  The other started with suggestions that led to a group of teachers winning a lottery but misplacing the ticket.  One of the strengths of these two artists is the way that they will each create several characters with distinguishing body language and voice, and then the two of them will switch frequently among all those characters to keep the story moving along.   I particularly enjoyed Jim Libby’s portrayal of the perky home-ec teacher Caroline.  I also enjoyed watching the moments when one of them set up the other to do something difficult or awkward and the other did it – performing rap music, lifting the other person up, etc.

In the evening, I queued up outside Strathcona High School so that I could sit in a front-row chair for Dogfight rather than climb up the bleachers.  This was my second viewing of the Strathcona Alumni Theatre’s production of the 2012 musical by Benj Pasek and Justin Paul, directed as usual by Linette Smith.  Most of the show is set one evening in 1963, in San Francisco, where a small group of  young US Marines has their last night of leave for departing for Okinawa and eventually Vietnam.  At the start, end, and intermission, there are also framing scenes showing the main character (Chris Scott as Eddie Birdlace) returning from Vietnam some years later and seeking out the girl he met that night (Emmy Kate Whitehead as Rose Fenny).

That one-line description could easily fit most conventional wartime-romance stories, but this one is different in some disturbing and refreshing ways.  Disturbing, because boy meets girl happens because of a dogfight, a competition among Marines to bring the ugliest girl to a party.  And refreshing, because the shy awkward nominally-unattractive girl Rose takes some control in the situation, calling the Marines out on their appalling behaviour in a way that makes the audience cheer, expressing anti-Vietnam-war concerns in a way appropriate to 1963, and telling him afterwards that she hadn’t been waiting for him.  I was also pleased that it avoided the period-piece tropes of having the young woman be coerced into sex and getting pregnant by a more experienced male partner.  It was clear to this modern feminist viewer that except for having been tricked into attending the dogfight, she wasn’t doing anything that she didn’t choose to do.  His contraceptive precautions were explicit, and his acknowledgement that it was new to him too won the audience over with a round of awws, while we watched Rose’s face receiving this unexpected but touching gift.

Emmy Kate Whitehead and Chris Scott both impressed me with the way they met the singing and acting demands of the lead roles.  Sydney Williams was heartbreaking as the streetwise prostitute Marcia and had a beautiful solo later as another character.  Kyle Thulien played several small roles (sergeant, drag nun, snooty waiter) and was spot-on as a sketchy lounge singer.  Gabe Richardson’s character Ralphie Boland was a nasty piece of work and Gabe added a swagger and a smirk that made me shudder.

The musical ensemble, under the direction of Matt Graham, was good, and the sound was well-balanced so that I could hear all the words.   The choreography was fun to watch and suitable to the story, especially the chair choreography (in unison, in army boots, by Scott, Richardson, Aidan Burke, Alex Aoki, Jordan Mah, Evans Kwak, and Michael Vetsch) and the impressions-of-war scene.   Jocelyn Feltham played Rose’s mother with gentle concern and no overplayed fuss.

There were two things I didn’t like about this show.  It ran overtime in both performances I saw, finishing at about 10:20pm rather than the published time of 10:00, and that is frustrating on a busy Fringe evening.  I don’t know whether a correction had been posted at the info tents, but it’s not on the Fringe website and wasn’t posted at the venue or in the program.  I will keep buying tickets ahead of time and driving down to Strathcona High School to see whatever challenging modern musical this company produces in future years, because they are good and they are local.  I would keep going even if the shows were three hours long.  But I want to know ahead of time.   I also didn’t feel comfortable with the stereotypical aboriginal character Ruth Two Bears (Olivia Aubin), shuffling and drinking stone-faced in buckskin and braids.  I wouldn’t be surprised to learn that the portrayal in this production was toned down from earlier productions elsewhere, but it still made me wince.

Dogfight is, of course, sold out for the balance of its run.  Last year an additional performance of Rent was announced for the final weekend, but I think it was announced midweek.

Our show Sonder was not sold out the last time I checked.  We perform this afternoon (Thursday) at 4:00 pm, and Saturday at 6:45 pm.  We’re at King Edward School, an easy walk across a playground from the main Fringe grounds and in a neighbourhood with some free parking, and running time is just under an hour.