A Swashbuckling Musical

Scaramouche

Quite likely the only recollection anyone has today of the name Scaramouche is from the 1975 song, “Bohemian Rhapsody,” by the British rock band, Queen. And for a minute there was Anthony Scaramucci, the White House communications director during Trump’s first term. But Scaramouche has a much longer history. He was one of several recognized, archetypical masked characters found in 16th-18th century comic theatrical productions. This stylized form of improvised professional theatre was called commedia dell’arte. Similar to Pierrot, Colombine and Harlequin, Scaramouche was a cunning, roguish servant character, usually costumed all in black with a white ruff. The actor portraying Scaramouche was often skilled in swordplay, which inspires this show’s description “a swashbuckling musical.”

Based on Rafael Sabatini’s Scaramouche: A Romance of the French Revolution, Kingsley Day and James Glossman adapted the novel into a two-act play, with music and lyrics by Kingsley Day, as well. The historical adventure story is about a young, French lawyer named Andre-Louis Moreau. An orphan raised by nobility, Andre-Louis is at first unconcerned about the growing discontent between France’s common people and the insensitive Parisian aristocracy. But after Philippe, Moreau’s best buddy, is murdered by the arrogant Marquis de la Tour, Andre-Louis vows to avenge his friend’s death. Against the background of the developing French Revolution, Moreau joins a theatrical troupe and adopts the persona of the witty commedia character, Scaramouche. The lawyer then navigates a new romance as he develops into a talented actor and a passionate revolutionary. Andre-Louis is soon finding himself using both his wit and sword skills against increasing political intrigue to fight for justice and class struggle.

This swashbuckling adventure tale is filled with vivid, colorful characters and lots of action and intrigue. Directed with humor and laser focus by Beth Wolf, with expert musical direction by Kevin Zhou, almost every actor of this ten-member cast plays multiple characters. Handsome Ethan Smith is the exception. He’s engaging and charismatic as Andre-Louis Moreau, and is seldom offstage for more than a moment. Mr. Smith is the powerful engine that drives this theatrical vehicle through two-and-a-half hours of entertainment. A fine singer, Ethan is eloquent and stylish as the man who will eventually become Scaramouche. 

Connor Ripperger is one of my favorite young, talented Chicago musical theatre actors. He’s terrific here in a variety of roles. Connor begins the musical as Philippe, and then goes on to play so many different characters, including an actor in Pierre Binet’s theatrical troupe. Connor has been enjoyed in such musicals as PIPPIN, GODSPELL and LEGALLY BLONDE at Music Theater Works, as well as in DIANA: THE MUSICAL at Theo Ubique. Actor, director and playwright extraordinaire, Ed Rutherford is a standout as Monsieur de Chapelier, as well as a passionate commedia actor who portrays the character of Harlequin. In addition to guiding his own company, Black Button Eyes, Ed will be remembered for directing STRANGE CARGO at City Lit, as well as for playing Pseudolus in A FUNNY THING…FORUM with Skokie Theater.

Lovely Laura Michele Erie makes her auspicious debut with City Lit as Andre-Louis’ aristocratic romantic interest, Aline de Gavrillac. Ms. Erie has a crystalline soprano voice that caresses every note. An actress of great range, she was hilarious in Lazy Susan Theatre Company’s recent production of DRACULA: A COMEDY OF TERRORS. Laura was also delightful in Citadel Theatre’s production of SILENT SKY. Another gifted, gorgeous actress/vocalist in this production is Alicia Berneche. The actress recently won the Jeff Award for portraying Letitia Primrose in Blank Theatre’s ON THE TWENTIETH CENTURY. And she almost stole the entire show at Theo Ubique as Penelope Pennywise in URINETOWN. In SCARAMOUCHE, this talented performer plays Madame, a talented member of the Binet theatrical troupe; but she particularly excels in the role of Aline’s aunt, Madame de Sautron, an aristocratic lady with a secret.

Kent Joseph is pompous and pure evil as the overbearing Marquis de la Tour, as well as a shady member of Binet’s theatre guild. Character actor Henry Michael Odum, who has been seen on stages all over Chicagoland, is excellent in a number of roles. He’s especially good as Pierre Binet, the illustrious leader of his own theatrical troupe. He also plays Quintin de Gavrillac, Andre-Louis’ guardian and Aline’s uncle. And the rest of the talented ensemble includes India Huy as Binet’s daughter Climene; Rushil Byatnal as both Chevalier de Chabrillane and the character of Pierrot, in the acting troupe; and, especially excellent, Shea Lee as the actress in Binet’s theatre company who plays Columbine, as well Benoite, a very funny older maidservant.

Special praise must be given to scenic designer, Trevor Dotson, for his adaptable, almost fluid stage setting. He’s done an excellent job of transforming the intimate City Lit playing area into so many different locations. His clever use of original, Impressionistic paintings as tiny backdrops to represent the various locales is pure genius. And costume designer and commedia consultant, Jennifer Mohr, meets all the challenges of this epic and sprawling musical. Her lovely wardrobe for each actor shows careful historical research, as well as minute attention to detail.

SCARAMOUCHE, with a book cowritten by Kingsley Day and James Glossman features an ambitious score composed by Mr. Day. A little on the long side, the musical contains the lovely “Entitled to Be Happy,” as well as the rousing “A Brand New Play” and “The Curtain Rises.” The ladies’ Act II duet, “Too Late,” is especially beautiful. In addition to providing theatergoers with a mini theater history lesson about commedia dell’arte, City Lit’s finale to their 45th season is an exciting, romantic swashbuckling musical to remember.       

Recommended

Reviewed by Colin Douglas

Presented May 1-June 14 by City Lit Theater, inside the Edgewater Presbyterian Church at 1020 W. Bryn Mawr Ave., Chicago.

Tickets are available in person at the box office, by calling 773-293-3682, or by going to www.citylit.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.

Photos by Steven Townshend of Distant Era