The Scarlet Pimpernel
TheaterMania.com
"They seek him here, they seek him there... that damned elusive Pimpernel." After a less than auspicious opening on Broadway, a heavily re-structured second Broadway version that worked much better, a couple of further revisions and lots of crossed fingers, the Frank Wildhorn-Nan Knighton musical version of Baroness Orczy�s The Scarlet Pimpernel opened at Los Angeles� Ahmanson Theatre as a greatly flawed delight.
Plotwise, Knighton�s workable book (and lyrics) quite closely follow the original, a swashbuckling tale of the evils of the regime brought about by the French Revolution - but this musical version simplifies the story in primary colors and camp humor. Wildhorn�s score is even more of a problem; like the scores of many recent musicals, it pretends to operetta but hints too often at pop. The most that can be said of its best numbers is that they give the company, especially the leads, a chance to let out all stops both vocally and emotionally. Like the music of Martin Guerre, that of Pimpernel is tuneless and forgettable.
What the production has reveled in from the beginning is the performance of Douglas Sills as Sir Percival Blakeney, the British nobleman who poses as an effeminate fop to fool those foggy French dudes while donning macho disguises and rescuing intended victims of the guillotine. The performance established Sills as a Broadway star even in the show�s early versions. As the swishy Sir Percy, he grabs hold of the stage and doesn�t let go. Sills has exquisite comic timing and an engaging personality that shines even brighter than the stage lighting. As a singer, he takes command of everything Wildhorn gives him; he obviously could handle even more daunting musical chores. Sills is the reason to see the show, and this is your last chance: the star has stated that the eight-week Los Angeles run will end his association with the Pimpernel.
He is ably supported by Amy Bodnar as Marguerite St. Just (the Comedie Fran�aise star who marries Percy) and by William Paul Michals as the nasty Chauvelin (who lusts mightily after Marguerite, but even moreso after the destruction of the ever-valiant Pimpernel). Bodnar leans toward pop in the treatment of some of her songs, but in the second act finds a better tone of voice and characterization. Michals is evil throughout - a smug, cold villain in high style - and very good at it. His powerful renditions of Chauvelin�s songs are impressive.
Elizabeth Ward Land is rock solid as Marie, the Comedie Fran�aise�s art director, providing one of the evening�s most intriguing laughs when she holds up a wax head she has created and is introduced as the newly wed Madame Tussaud. As Marguerite�s impetuous brother Armand, Billy Sharpe has some good moments, and David Cromwell gets laughs as both Robespierre and the Prince of Wales. (Cromwell looks the same as both characters, which is certainly part of the gag.)
The Scarlet Pimpernel has developed into a very enjoyable evening of theater, as long as you don�t scrutinize it too closely. What lingers in the memory is Douglas Sills� masterful performance, which critics will no doubt use as a standard when faced with the many Civic Light Opera productions of this show that are sure to come.
-T. H. McCulloh, TheaterMania.com
May 15, 2000
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