For a play that’s about deception and greed, Moonbox Productions’ “Dirty Rotten Scoundrels” is a surprisingly feel-good experience. Directed by Allison Olivia Choat and on at Arrow Street Arts through Oct. 20, the adaptation of the classic musical is, for the most part, a job well done. It’s the company’s first production of the 2024-2025 season, its first full one in the new Arrow Street Arts space.
The musical, with music and lyrics by David Yazbek and book by Jeffrey Lane, is based on the 1988 film of the same name starring Steve Martin and Michael Caine. It follows high-society swindler Lawrence Jameson (Matthew Zahnzinger), who pretends to be a prince to woo women and trick them out of their money in the French Riviera town of Beaumont-sur-Mer. When he meets Freddy Benson (Phil Tayler), a more hardscrabble (read: American and inexperienced) con artist, he agrees reluctantly to teach him his ways. Once Christine Colgate (Shonna McEachern), a wealthy heiress, shows up, the men set a bet – whoever can swindle her out of $50,000 first will win.
It’s a lively show full of ridiculous hijinks, and the Moonbox crew does well with landing jokes and making the audience laugh. Tayler is especially good in his role, playing Freddy with impressive gusto and exaggerated passion. He shines in “Great Big Stuff,” a raucous number about everything he would buy if he had the kind of money Lawrence does: “I want a mansion with a moat/Around which, I will float/With some vast-bottom babies/In my glass-bottom boat,” he sings. But Tayler can also hold his own in the slower numbers such as “Nothing Is Too Wonderful to Be True,” a duet with Christine near the end of Act I. Every scene with Tayler is a good one.
Playing a character who’s playing a character can be challenging, but Zahnzinger is equally solid as Lawrence and “the prince,” taking on a suave, debonair demeanor (and a British accent) with ease. His singing voice carries in “Love Sneaks In,” and his chemistry with Tayler, despite their characters’ opposition, is palpable. The two are perfect together in the penultimate “Dirty Rotten Number.”
The surprising showstopper for me was Tader Shipley in her role as Jolene Oakes, another woman who has fallen prey to Lawrence’s schemes. Her song “Oklahoma” was one of the best parts of the show; I only wished I could have seen more of her. As Christine, Shonna McEachern is great, especially when she sings, and Christina English did well in her role as Muriel Eubanks, an early interest of Lawrence’s who ends up falling in love with André (Julius Williams), the local chief of police and Lawrence’s right-hand man. As André, Williams maintains an impressive French accent while in song, especially in “Chimp in a Suit,” and his duet with Muriel, “Like Zis, Like Zat,” is excellent.
The ensemble, who appear in more than half the songs and take on small roles throughout the play, are an evidently hardworking group, though with a range of talent. Dancing Brad Reinking’s choreography, Sophie Shaw, Molly Dorion, Miki Grubic and especially Jake Siffert were impressive, but the rest seemed to struggle to keep up.
Peyton Tavares’ set was sparse and a bit underwhelming, just a black backdrop outlined with neon tubing that changed colors throughout. The two levels connected by a staircase were helpful for creating more dynamic scenes, but the lack of color and light didn’t feel like it quite matched the show. The neon lighting makes sense in the casino scenes, for instance, but nothing about it suggests we’re in the French Riviera.
Where the first act is tight and easy to follow, the second gets convoluted with excessive plot and feels a bit long toward the end. It’s no fault of Moonbox – that’s just how the musical was written – but it felt like everyone’s attention was starting to slip in the final numbers. Even so, it’s a fun romp in the Riviera that, despite some technical issues, is a joy to watch.
“Dirty Rotten Scoundrels,” by David Yazbek and Jeffrey Lane and directed by Allison Olivia Choat. Presented by Moonbox Productions at Arrow Street Arts, 2 Arrow St., Harvard Square, Cambridge, through Oct. 20.
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