35 Reasons That I'm Excited To Get Back To Putting On This Show This Weekend

1- The dancing ensemble. The overture dancing, Great Big Stuff, and The More We Dance all feature awesome work, some of the most interesting stuff I've seen Marc put on stage. And the execution is awesome. And in addition to the ensemble stuff, there's also some opportunity for the lead dancers to sparkle extra.

2- The boy dancing. Oklahoma features a male dancing ensemble and any time you can get a group of men dancing together on stage, it's a hoot. No exception here.

3- Terri Gilmore. Terri takes a feature role and makes it awesome, striking all the right notes. She commands the stage when it's time, and she lets herself be a hilarious foil/butt of the joke when it's time. Not all leading ladies have the grace, confidence and generosity to pull off a role like this.

4- Andrew Ritsig. Why is there a German bellboy in a French hotel? Who cares-- this small but pivotal moment makes a big scene work.

5- Jacob Krupitzer. His absolutely most hilarious and expressive five seconds on stage are in this show. I can't remember the last time I saw someone steal a scene without a word. And that's in addition to the super song and dance.

6- Chris Marshall's master class on supporting character work. His international sailor is a study in how to completely commit to a moment, but later he will show you how to buck for a Tony with just one word.

7- Aaron Ritsig. He gets one line to shift a scene into a completely different tone from the rest of the entire show, and he carefully and thoughtfully does it.

8- A clown car full of hussies. I love female vocal harmony. I love this moment.

9- A small flock o' nuns. How many women does it take to make that gorgeous alleluia? You wouldn't believe me if I told you.

10- Jodi Hoover. Skipped part of family vacation to do this role. While also producing and doing props. This has not been an easy character to draw a bead on, but Jodi makes her believable and touching and hilarious all at once.

11- Alan Anderson. Every show has a lucky find, a cast member who appears from the woodwork. We have been so fortunate to borrow this gifted performer from Mercer and environs. The best, smoothest, warmest, most fully convincing outrageous French accent ever.

12- The Songs. One of my favorite scores ever. Every single song in this show is an earworm. Usually by now a director is playing other loud music at home to clear the show tunes out of his head, but I look forward to hearing them again. Poppy and bright and jazzy and fun. I love each one.

13- Suzi Beach. Suzi has a remarkably difficult role to play, and she nails Christine so well. And I could listen to her rendition of "Nothing Is Too Wonderful..." over and over and over.

14- Love Is My Legs. I know I said I love the whole score, but this is the most hilarious piece of music I've ever heard-- so smart and funny and gorgeous and funny all at once.

15- Nick Mitchell. This is such a tricky role. Unlike the typical musical-comedy lead, Lawrence is a complicated character who reveals many layers that even he didn't know he had. From his crash-and-burn date with Jolene to the moment when he sings the one serious song in the show, Nick manages to hit all the marks in this guy.

16- Ben Bodamer. There is nothing this guy can't do on stage, from dancing to singing to creating a complete character with just a few lines of dialogue, a look, and some movement. Sooner or later, you will see him in a leading role.

17- Samantha Caiarelli. A really gifted dancer who was willing to join us despite the fact that there was also singing involved. But her moves add so much to the look of the show.

18- Caitlin Glenn. A really gifted singer who stayed with us even though six weeks in a big casty boot thing kept her on the dancing sidelines. But her vocals add so much to the ensemble sound.

19- Janelle Chambers. Always a bright spot of sunshine on stage. I believe she actually sparkles. And such a big voice out of such a little woman.

20- The Orchestra. This might be the best-sounding pit I've ever worked with. From the oboe that sounds like a musical instrument to Nate Frye playing a zillion instruments, every bit of the sound is just super.

21- Brett Sloan. Brett's utter lack of shame guarantees that Freddy will be hilarious, and his acting chops guarantee that Freddy won't be just a ridiculous mugging clown.

22- Jacki Fike- She's a superb dancer and her moment on the train is fun (even if she is not a graduate of the Chris Marshall Mystery Accent School).

23- Bill and Peg Hennessy. I didn't even know what to do with the random French accordion player until Bill and Peg showed up to audition. At that point I knew I needed them to be the visible example of the couple ideal that all the other characters pursue.

24- Amanda Rose. One of the most beautiful voices in Venangoland, not to mention my inspiration for many moments in the staging. Her resolution to bust loose alwasy makes me laugh.

25- Carissa McClintock. I believe she can do anything at all on stage. One of several lead-calibre actors in the show who add such heft and richness to the ensemble. In just "Your grace" she gets a world of character into a cameo role.

26- Stephen Teig. The indispensible go-to player for more shows than I can count. He always provides exactly what is needed, and creates a great character for the hotel manager out of nothing at all.

27- David Aites. Makes every single moment on stage count, even if he's just examining the art in the abbey.

28- Grayce Burwell. I don't think anybody would guess that she's the youngest member of the cast. She sells it every minute she's out there.

29- Hundreds of little things. A big pencil. Bacon and sex. Just the brass section. It's mutual. Is the balcony moving? Isn't that cute. Toblerone? Detroit. How about four?

30- Lights R Us. The cute little shrinking spotlight. The perfect timing.

31- Sound that works. A show you can hear!

32- Kristen's cameo, and her method acting to prepare. Fifteen minutes of ushering to set it up, and sixty seconds to sing.

33- The awesomely magical set changes.

34- This show makes me laugh so much, even now, and yet it makes my heart all happy, too. It manages to be relentless hilarious, even while the characters are real and true and we get to see something really true and beautiful about the human spirit. I'll tell you-- I am more uplifted and renewed by a show like this than a hundred Sound of Musics. And I laugh harder.

35- Everything else. There are so many good moments in this show, so much vocal coolness to savor, so much electricity flying back and forth between the people on stage, so much cool and funny stuff going on, I don't know how anyone can only watch this show once. I am sad that I will only get to see it three more times.

Brush Up

We will convene Thursday night at 6:00 in the air conditioned main theater in order to do a quick run-through of set/scene changes for the show.

In the meantime, don't let these off days go by without doing whatever you need to do to keep your parts fresh (no! not that! you know what i mean). Review lines, review dance, go through the show in your head, but do whatever it takes to insure that you don't lose pieces of your performance!

Pictures Up And Temperature Down

If you haven't heard already, the AC is now functioning. Tell everyone they have no excuse to miss the upcoming performances.

I will post more tomorrow, but right now here's the link to the photos from dress

Awesome!

A big bowl of awesomesauce with awesomeberry topping and some awesome chip cookies on the side. What a great opening night and what a great show. I think we should do it again!!

Dress Rehearsal Tonight!

Great run last night! Every time through the changes get smoother, the characters become more real, and the music and dancing are sharper. After all these months I am still excited about this show.

Folks have been asking about a brush-up next week. There won't be one. Instead, we'll be coming in a little earlier on Friday to recap and do a talk through.

Keep plugging the show, and cross your fingers and toes for the air conditioning!

Monday!

This is it! This is it! THIS IS IT!!!

This week we take everything we've done, made, sewn, played, sung and committed to memory and make a show out of it. I expect awesomeness.

Cast report tonight for 6:30. Principals, if you can be a hair earlier for mic wrangling purposes, that would be sweet. Orchestra will be there ready to start the run at 7:00. We will take care of our other business before then.

This is going to be so much fun!! Pass the word so folks don't miss it-- they'll be sorry if they do. And remember-- your hands will be appreciated during the day at the theater.

ALSO- CONGRATS to the staff and creative team for the award-winning float, which took second place in its division Saturday. Go team!!

Home Stretch

Much detail work to do and edges to smooth out over the weekend so that we can have a four good runs before opening.

Remember:

Saturday 10AM we'll have a curtain party. Please be there to help if you can. Saturday night, bodies for the float would also be sweet (line-up on lower Liberty at 5:00)

CHECK BLOG!!!!!!!!

Thursday night reh at 6:30pm, July 1st

Reh. on Thursday July 1st at 6:30 at the theatre. Everyone should show up at 6:30pm. I will finish Oklahoma which should take me an half an hour. While I am reh'sin g that. Please be there at the same time (the rest of the ensemble) and reh all the other numbers in the lobby. Alan and Jodi please reveiw what you know. And I will be there to help. You have lest than a week to perform. It's time to give all that you have. Know you choreography. You are on stage. Look good. Where your heals ladies and boys where your shoes. Don't bitch, don't moan. Just work. Once again. If you can not make it let the producers or marc know. Thanks.

Sunday

Exciting to hear the mini-orchestra rehearsal today. Nate Frye has so many different instruments to play that I believe he may explode with joy.

Remember that starting this week, rehearsals are as long as it takes. AND as of tomorrow, we are supposed to be off book.

Ed has been building many things. There is now plenty of painting to do this week for anyone who is free during the day to help out.

Next Week

Sunday afternoon the orchestra (or rather, most of the orchestra) will practice starting at 2:00.

Monday, Tuesday and Wednesday we will be running the entire show. OFF BOOK! Please note that we will be switching from "rehearse until 9:00" mode to "rehearse until we're done" mode.

Thursday night will be rehearsal for choreography on the main stage.

Friday and Saturday are for finishing construction and painting. If something seems to desperately require rehearsally attention, Friday night is when we'll do it. But I don't think that's going to happen.

Saturday night is the parade. Remember that we need folks to ride the float. Every bit of promotion helps.

Sunday is the Fourth of July. Go blow something up and eat outdoor food, but don't forget to brush up your lines etc.

I see you.

Hello my dancers. Just a reminder. I see you when your sleeping. I see you when your wake. I see you if you practicing or not. So you better watch out. You better not cry. You better dance. Im telling you why. I will throw shoes at you.

I see you.

I see you when your sleeping. I see when your awake. I know if you've been practicing or not. So PRACTICE. For the love of god.

I s

Sunday June 27th dance reh.

I understand that some of us go to church services and that is fine. If you can make it to rehearsal that would be great. If not, I will work with what I have.

Saturday June 26 and Sunday June 27th, Dance reh.

Saturday June 26th At Studio 22 10 am to 12 noon. Review all numbers and clean and finish opening. from 10 to 11. Oklahoma with Terri and Ben, Jacob, Aaron, Andrew,Steve. from 11 to noon. Please be on time.

Sunday June 27th At Studio 22 (Same sched as Saturday.) 10 to noon. Look at saturday for breakdown.

At every rehearsal from now on that you have. Jackie will have the cd and you must run and clean "The more we Dance", Opening and "Great big Stuff". EVERY CHANCE YOU GET TO REHEARSE THESE NUMBERS. DO IT!!!!!!!!!!!!!!!!!!!!!!!!!!! Please contact me if you will not be at these rehs.

Tuesday Set Stuff

Tuesday 10 AM I would like to gather as many able-bodied folks as are free to finish transporting set materials from the warehouse. Ed and I did some work today, but with only four hands, we are limited. So if you're available, please plan on helping out.

The Coming Week

Monday night - ACT I
Tuesday night - ACT II
Wednesday night - ACT I
Thursday night - ACT II

OFF BOOK BY THE 28th !

We are moving right along, but so is the calendar!!

THIS WEEK

Tonight there will be music rehearsal at 7:30 for principals.

Tuesday at 6:30 running Act II at theater'

Wednesday and Thursday 6:30 at Studio 22 for dance plus maybe some music on Thursday.

SUNDAY NIGHT CHANGE

We've already done the basic blocking that we were going to do Sunday, so I'd like to use the time to go back to scenes 8 and 9 of act I with everyone who's involved and finish pinning that down. We'll work some music, too, while we're at it.

I am a fortunate director-- this cast has so far just kept giving me what I was hoping for and more. I'm popping in to dance rehearsals and what I see there is exciting.

BOO-YAH

Or whatever it is we say in the theater when we have just kicked ass. The five principals blocked the entire second act tonight and worked the musical numbers as well. Once we add the awesome ensemble, we'll have Act II totally licked. Totally.

Dance Rehearsal Thursday June 10

There will be a dance rehearsal on Thursday June 10th at the studio.

6:00-6:30. Dance Leads
6:30-8:30. Remaining Ensemble plus Bret and Terri.

Thanks - see you Thursday at the studio.

Marc

Hope to see nearly everyone tonight (Suzi has that whole barfing thing going on) at 6:30 at the theater.

Monday night I have been pulled in to work on Baccalaureate at FHS, so while there are some as needed things on our collective plate, we won't be getting to them then.

Dance Practice

Marc will have a more complete practice schedule this Thursday.

This Thursday he needs all the dancers (ensemble) till 8, and then Terri and the cowsteppers from 8-9.

Rehearsals For Now Through June 6

Rehearsal for this Sunday (May 30) is canceled. We already got all of those scenes blocked.

Tuesday June 1 - MUSIC Ensemble 6:30-8:00
Muriel and 4 ladies 8:00

Wednesday June 2 - MUSIC Ensemble 6:30-7:30
Lawrence, Freddy, Muriel, Christine 7:30

Thursday June 3 - DANCE 6:30

Saturday June 5 - DANCE 10 AM

Sunday June 6 - ActI, Scenes 8, 9 All (except Jolene) 6:30

Incidental Environmental Color Roles

Here's the list as it stands, subject to any changes I have to make when it turns out I've accidentally required someone to be two places at once:

Croupier: David
Sophia (Woman 1): Amanda
Lenore (Woman 2): Carissa
Waiter: Jacob
Renee: Jackie
Her hubby: Davin
Woman 3: Grayce
Woman 4: Caitlin
Conductor: Chris
Hotel Manager: Stephen
Bellboy #2: Andrew
Sailor #1: Chris
Sailor #2: Bill
Porter: Aaron
Accordion player and trollop: Bill and Peg
Nun: Jenna

Wednesday 26th

Dance rehearsal will be at the studio and not the theater. No leads needed.

Thanks for a fun read-through last night. Our next scheduled rehearsal is Sunday night, and it's just for the leads (minus Jolene). However, folks who weren't able to be there last night to pick up their script and packet should stop by the theater Sunday at 6:30. The rest of the week is as follows:

Monday : MUSIC
6:30 ensemble
8:00 Lawrence and Freddy

Tuesday 6:30 Scenes I.2, I.3(minus the musical number) and I.5

Wednesday: DANCE

Thursday: 6:30 "Ruprecht" (no ensem)
7:00 "Oklahoma" (no ensem)
7:30 scenes I.4, I.6

Audition Dates

Auditions for the show will be May 15 and 16 at 2 pm. Continue to watch for more info here.

The Roles: The Chorus

This is a high-utility chorus. There are a variety of atmosphere and background parts to fill in the many elegant and sophisticated folks on the Riviera, as well as bell boys, French maids, and-- well, at points in the show the chorus simply appears in order to sing some back-up. The chorus appears in about a dozen numbers to sing, in several numbers for dancing, and in many scenes to provide some local color. In other words, there will be much fun and activity, and none of the "do a scene then take a nap" that sometimes occurs for musical theater choruses.

The Roles: Jolene

Jolene is what we might call a "featured role." She has one song of her own and a couple of scenes. A much-married, rough-edged oil heiress from Oklahoma, she is the very opposite of the urbane, smooth, sophisticated Lawrence. So when she announces that they are engaged, and he's going back to the panhandle with her, steps must be taken...

The Roles: Muriel

Muriel is another thirty-something character, rich and bored and more than a little bit ditsy. She becomes one of Lawrence's satisfied marks about five minutes into the show, and then she never quite goes away, because in her heart she just knows she can help. Gullible but sweet. She has two fun numbers, and she is all alto (all the way down to E in the bass clef). She is eventually paired up with Andre, so a touch of ballroomish dancing is called for.

The Roles: Andre

Andre is Lawrence's sidekick, body guard, and confidant (He's also the local chief of police, which is convenient). Suave, smooth, and a little bit jaded, he is not a young man. But by the show's end, he may be the best proof that you're never too far gone for love to find you. This role is considerably expanded from the film versions.

Andre has two featured songs and some incidental parts in others, sticking to a comfy baritone range. No special skills are required, but he does have an outrageous French accent. A little bit of ballroom-style dancing is likely.

The Roles: Christine

Christine doesn't appear until late in the first act, but she is the crux of the story-- which one of the con men will win her? And can either of them win her before the picture of sweet midwestern innocence and beauty that she presents softens them too much to go through with their con?

She is sweet, naive, and nice, but not ditzy or dumb. She is rather dangerously clumsy. In many ways, she is the straight man for not one, but two, comics. But at the end of the day, if people come back to watch the show a second time, it will be because they want to watch her.

Christine is perhaps thirty-ish. She has six musical numbers, and her vocal parts rest comfortably in the mezzo range. No soprano warbling for her, and it wouldn't hurt if she could belt. She has a bit of dancing to do.

The Roles: Freddy

Freddy is an American con artist. He's brash, crude and obnoxious, but charming in much the same way that a five-year-old is charming. He's fun. He's in need of a mentor, but what he lacks in skill he makes up for in sheer joy in the game.

In the movie versions, he was played by Marlon Brando and Steve Martin. On Broadway he was played by Norbert Leo Butz, who won a Tony for his work.

Freddy has seven numbers, including the most ridiculous power ballad ever performed in public. He needs some good strong F's and G's. He also spends about a third of the show in a wheelchair, so some chairing skills will be needed. As a bonus, he gets to play one scene as a completely insane character.

The Roles: Lawrence

Lawrence is fifty-ish, a man of culture and class, sophisticated, smooth and polished, and a so good at playing the game that it has all become a bit boring for him. He gives his rich middle-aged female marks what they want-- romance, excitement, passion and even adventure, but when we first meet him, some of the fun is gone. Nobody could be more surprised than he to find that something, or someone, can revive his joy and delight in life.

Lawrence has been played in the movies by David Niven and Michael Caine. On stage, the part was originated by John Lithgow; when Lithgow stepped down, Jonathan Pryce took over the role.

The part calls for British, Viennese, and (briefly) Spanish accents. Lawrence has eight musical numbers. Lawrence stays primarily in Baritone territory, though he's occasionally called on to pop up to F and G.

The Score

The score for the show was written by David Yazbeck. Yazbeck graduated from Brown and then went to work for David Letterman, where he won an Emmy as part of the writing team.

He gave writing up for music and was busy in the world of pop. Most notably (at least for me) is that he co-wrote the theme song for "Where in the world is Carmen Sandiego" with the then-leader of Rockapella, who was an old high school chum. He also produced the Carmen Sandiego soundtrack album, which is a long-beloved album in this house, enjoyable by even people who are older than ten.

Another old friend landed Yazbeck a break composing the score for the stage version of The Full Monty, a show that might have garnered more attention had it not landed on Broadway the same year as The Producers. The same team that created that show worked on DRS.

The score is a lot of fun, very poppy with French, jazz, funk flavors. It reminds me in its overall flavor of the score for Lucky Stiff, and it is a big part of what attracted me to this show. For those of you who are studying up and deciding if you're interested, here's the run-down of numbers.

Give Them What They Want- Lawrence, assisted by Andre, introduces us to his town, his conquests and his goal "Your world. They're all invited guests. Find out how to play them, and remember this-- you're giving them what they want." Light swing.

What Was a Woman To Do- Muriel, one of Lawrence's recent conquests, sings about what drew her to him. As she does, a progression of his other conquests appear and join in. And join in. These women are all over the place!!-- including, eventually, one of the usherettes in the theater itself. Some gorgeous female harmony. "As he approached he wore an aura of nobility. I wore these Ferragamo shoes."

Great Big Stuff- Freddy announces how badly he wants to be like Lawrence. "I thought I'd seen it all. I thought I knew the score. But coming here I've found a world I've never seen before. Now, I know where I belong-- A life of taste and class with culture and sophistication pouring out my ass." A bit funky, with a rappish vocal strangely reminiscent of Steve Martin's hit "King Tut."

Chimp in a Suit- Andre sings a swingy French waltz while Lawrence's attempts to make Freddy over. At first listen you may dismiss this as a trifling piece of fluff. Then, a week later when you're still humming it to yourself, you may change your mind. "Dress up a monkey in Armani, he may seem precocious and cute. Despite all that primpin' you've still got a chimp in a suit."

Oklahoma- Jolene, the Oklahoma heiress, sings a down-home barn-dancin' tribute to her "little piece of heaven."

All About Ruprecht- Lawrence and Freddy introduce Jolene to the member of the family they keep locked in the basement. "Ruprecht's all about cakes and lemonade, milk shake enemas, fun and play." Starts out light and cheery, ends up in kickline territory.

Here I Am- Christine, the Ohio Soap Queen, makes her entrance, and she is just so excited to be here. A bouncy Latin rhythm.

Nothing Is Too Wonderful To Be True- Christine's song of hope and inspiration for the poor crippled American soldier. It really is a pretty ballad; however, forced to join in, Freddy does to this song kind of what Timon and Pumbaa did to "Can You Feel the Love Tonight."

Ruffhousin' With Shuffhausen- Sophisticated comedy. Lawrence, now pretending to be a Viennese doctor, beats the snot out of Freddy's "non-working, non-feeling" legs, all to a fun little Viennese waltz. Including yodeling. by Freddy, Lawrence and Christine. "The corpus Hippocraticum like bats out of the attic come, like popes out of the vati-come..."

Like Zis, Like Zat- Andre and Muriel share this number that completely lifts the rhythm-line from "Just a Gigolo," but it's a breezy duet that's actually rather sweet and, once again, sticks to your brain for days. "Like zat, a rose, delightful to ze nose, but nowhere near as perfect as a kiss."

The More We Dance- Lawrence takes Christine on a whirlwind faux romance to "motivate" Freddy. The tune is a bit of an uptempo tango.

Love Is My Legs- Air Supply's greatest hits, all lampooned ferociously in one song. Freddy sings out his devotion to motivate Christine to motivate him. "Love is my legs, and you are my love, so you are my legs, my love."

Love Sneaks In- Lawrence gets the only 100% serious song in the show, reflecting on how Christine's sweetness has inadvertently turned the tables on him.

From there, it's some assorted reprises and a finale to finish off the show. The soundtrack is available on CD, actually recorded by the cast and company orchestra, rather than the usual studio treatment, and put out by a label co-founded by the actress who played Christine on Broadway. You can pick it up at Amazon.

It's a great, fun, saucy, breezy, funny score and I look forward to bringing it to the Barrow stage!

The Story

Lawrence is a suave, sophisticated con man, working the French Riviera and the bored rich women who spend time there. He is assisted by Andre, the local Chief of Police, and has refined a story in which he is an exiled prince and leader of freedom fighters. He gives these women thrills and excitement and they give him their money. He's very good, but somehow the fun is gone.

On a trip to Switzerland to deposit his latest hall, Lawrence reads that a brash American con man known as The Jackal is moving into the area, and at that moment, Freddy, a brash American appears. After watching Freddy run a quick con on a passenger, Lawrence encourages him to move on past Lawrence's base of operations.

So of course Freddy stops by. Impressed by Lawrence's riches, Freddy decides to stay and learn. Lawrence, sensing something entertaining for the first time in years, agrees to take Freddy on.

Their first job is to scare off an Oklahoma heiress who thinks she and Lawrence are engaged. The boys present Freddy as Lawrence's genetically challenged brother Ruprecht. Horrified, she heads for the hills.

But comradeship leads to rivalry, and the boys get competitive. They set their sights on the newly-arrived American Soap Queen, a sweet (albeit clumsy) woman from Cincinatti named Christine. They make a wager-- the first to extract 50K wins.

Freddy boxes Lawrence out by making an approach as a wheelchair-bound American veteran. If only he could get the money to be treated by the world's pre-eminent expert, Dr. Shuffhausen. Christine is prepared to help out when she discovers that the Dr. is staying that very hotel. Delightedly she brings him back to meet Freddy and, surprise, the Dr. is actually Lawrence.

In Act II, the Dr. subjects Freddy to some pain therapy, but Freddy does not break. Then the Dr. suggests that by dancing and romancing, he and Christine can spur Freddy on to overcome his mental block, so they begin a whirlwind courtship-- but it's no longer entirely clear who is falling for whom.

Meanwhile, one of Lawrence's earlier conquests Muriel is still in town. Andre had almost convinced her to leave earlier "but," she says, "I can't imagine that I won't be of use to someone in the second act." She and Andre strike up a romance of their own, resulting in a very nice song and a subplot present in either of the earlier movie versions.

As Act II progresses, the plot twists come thick and fast. Freddy arranges for Lawrence to be kidnapped, then makes an appeal to Christine to help him overcome his fear. She has almost gotten him to walk-- all the way to her bed-- when Lawrence re-appears.

He changes the bet with Freddy-- Christine turns out to be a contest winner and not a rich heiress-- to whether or not Freddy can get her into bed. Then he puts her on the next train out of town, and Freddy returns to his room, dejected and defeated. Then there's a knock on the door...

From here to the end, there are a series of twists. If you watch the old movie versions, you know what they are, but I'll not give them away here.

The Story of the Story

Dirty Rotten Scoundrels has been a movie twice before.

The first version was the 1964 film Bedtime Story starring David Niven as Lawrence, Marlon Brando as Freddy, and Shirley Jones as the American soap queen they are both competing to seduce.

Decades later, a remake was supposedly envisioned as a vehicle for David Bowie and Mick Jagger (after their collaboration on the recording/video "Dancing in the Streets") but both dropped out, and Dirty Rotten Scoundrels was instead made in 1988 with Michael Caine as Lawrence, Steve Martin as Freddy and Glenne Headly as the soap queen.

The musical stage version premiered ion San Diego in the fall of 2004 and hit Broadway in January of 2005. It was nominated for 11 Tony Awards, but was up against Spamalot (with 14 nominations) that year. The show closed in September of 2006 after over 600 performances. The national equity tour launched in August of 2006 and lasted a year. This was followed by a non-equity tour that wrapped in March of 2008.

In other words, the main reason that this show is not as familiar or well-known as the standard FCOA offering is that it is one of the newest shows Civic has ever done.

Here We Go

Those of you who know me know that I am not known for my bubbly enthusiasm and bouncy excitement. And I am occasionally accused of a certain amount of dry irony.

So I'm telling you to believe me when I tell you that I am excited about doing this show. I read the script, listened to the score, and started lobbying for the job.

In the weeks ahead I'll post more about the show's background, the characters, the music, and all the reasons that I am really, really looking forward to bringing this show to the Barrow stage. Stay tuned...