Review: DIRTY ROTTEN SCOUNDRELS at The Wimberley Playhouse

  The Wimberley Players continue their summer season with DIRTY ROTTEN SCOUNDRELS, running through August 9 at the Wimberley Playhouse. Based on the beloved 1988 MGM film and later adapted into a Broadway musical, the show is a fast-paced comedy full of elaborate cons, mistaken identities, and enough twists to keep audiences guessing right up to the final curtain. Set on the glamorous French Riviera, it follows two very different con artists: smooth, sophisticated Lawrence Jameson and rough-around-the-edges Freddy Benson as they compete to swindle an unsuspecting American heiress out of $50,000. Naturally, nothing goes according to plan.   

If you've never seen the musical before, it helps to know that it leans unapologetically into farce. Characters are larger than life, the humor is broad, and every revelation is quickly followed by another surprise. The musical asks audiences to suspend disbelief, laugh at the absurdity, and simply enjoy the ride.

Wimberley Playhouse and the Wimberley Players rarely disappoint, and this production continues that tradition. Before a single note is sung, the audience is welcomed into a world of elegance. As soon as you walk into the theater, your eye is drawn to an impeccably designed set. Towering marble columns streaked with blue veining and accented with faux gold leaf frame a polished black marble floor that immediately establishes Lawrence Jameson's luxurious lifestyle. A sweeping curtain across the back of the stage later reveals doorways that cleverly become entrances and exits to hotel rooms and villas throughout the evening. It's a striking first impression that immediately transports the audience to the French Riviera.

Director Sherri Small understands exactly what kind of show DIRTY ROTTEN SCOUNDRELS wants to be. Rather than trying to soften its broad comedy, she embraces it wholeheartedly. Whenever a scene threatens to lose momentum, another comic moment quickly pulls the audience back in. Small clearly trusts her actors' individual strengths, allowing each performer room to develop memorable character choices while maintaining the brisk pace necessary for a farce. The production never loses sight of its primary goal: entertaining the audience.

One of the production's greatest strengths is the chemistry between its principals.

As Christine Colgate, Michelle Sergeeff is an absolute delight. She possesses a gorgeous singing voice, a confident stage presence, and perhaps most importantly, completely convinces the audience that Christine is exactly who she appears to be…until she isn't. At no point did I suspect where her character was headed, and that's a testament both to Sergeeff's performance and to her careful handling of one of the show's trickiest roles. She is, after all, playing a character who is herself performing for everyone around her. Sergeeff navigates those multiple layers effortlessly, earning both laughter and genuine sympathy before pulling the rug out from under the audience.

Danny Mosier brings exactly the right balance of sophistication and charm to Lawrence Jameson. He commands the stage whenever he appears, aided by a rich singing voice and an easy confidence that never slips into arrogance. Lawrence could easily become unlikable in lesser hands, but Mosier finds just enough humanity beneath the polished exterior that audiences understand why so many wealthy women willingly fall under his spell. His musical numbers are among the strongest in the production, and his chemistry with both Freddy and Christine anchors much of the evening.

Then there's Scott Murdock as Freddy Benson, who absolutely throws himself into the role without hesitation. Freddy is loud, crude, outrageous, occasionally vulgar, and completely fearless, and Murdock commits to every single moment. Whether he's flying across the stage in a burst of physical comedy or delivering one of David Yazbek's demanding musical numbers, he never holds back. His tenor voice is excellent, his physical flexibility is remarkable, and his willingness to embrace the sheer ridiculousness of Freddy's antics keeps the audience laughing throughout the evening. It is an impressively uninhibited performance.

The contrast between Mosier's polished elegance and Murdock's gleeful chaos becomes the engine that drives the entire production. Their scenes together crackle with comic energy, and watching each try to outwit the other becomes increasingly entertaining as the stakes continue to rise.

Supporting the central duo is an equally enjoyable cast. Greg Price brings warmth and charm to André Thibault. While there were a few moments when his dialogue was difficult to understand, his characterization more than compensates. André's longing for affection and his unwavering loyalty make him one of the musical's more endearing characters, and Price captures both qualities with sincerity while still joining wholeheartedly in the surrounding comic chaos.

Sarah Saldana is wonderfully funny as Jolene Oakes. She embraces every stereotype associated with the wealthy Oklahoma tourist with complete commitment, creating a character that is delightfully over-the-top without becoming cartoonish. Her strong vocal performance only enhances the comedy, and every appearance adds fresh energy to the production.

Rebecca L. Woods makes Muriel Eubanks an unexpected audience favorite. Possessing a lovely alto voice, Woods slips in and out of the story with impeccable comic timing before ultimately sharing one of the evening's sweetest moments alongside André. It's a surprisingly touching relationship amid all the deception surrounding it.

The supporting ensemble deserves recognition for doing far more than simply filling out the stage. Sara Hudnall, Elizabeth Neal, Talitha Muehlbrad, Ashton S. Miller, Ronald Lessane, Jana Ayoub-Agha, and Camden Rivers continually create miniature stories of their own between scene changes, support every musical number with energy and polish, and keep the world of the Riviera feeling alive. Whether they're dancing, singing, moving scenery, or reacting in the background, they are constantly engaged, and that commitment adds immeasurably to the production.

Among the ensemble, a couple of performers especially caught my attention. Ashton S. Miller, often appearing as the hotel receptionist, injects personality into every appearance while serving as the unfortunate accomplice who helps identify wealthy women for Lawrence and Freddy's next scheme. Talitha Muehlbrad possesses a beautifully clear soprano voice that consistently floats above the ensemble without overpowering it. Her singing helps anchor the larger company numbers while blending beautifully with the rest of the cast.

Musically, John Diaz leads an accomplished company through David Yazbek's demanding score. The harmonies are balanced, the soloists are consistently strong, and the cast clearly enjoys performing together. The choreography by Michelle Sergeeff and Roxanne Strobel fits the production well, emphasizing character as much as dance technique. Rather than feeling like dance breaks inserted into the story, the movement helps continue the comedy and reveals more about each character.

One group that deserves a standing ovation is the backstage crew under Stage Manager Dorianne Malbrough. This is a surprisingly complicated production with constant costume changes, numerous props, and a steady parade of furniture and scenic pieces moving on and off the stage. Yet every transition feels smooth, coordinated, and unhurried. I've seen productions with far fewer moving parts that struggled with scene changes, but here the backstage operation is almost invisible, which is exactly what good stage management should be.

The design team also deserves tremendous credit. Kevin Rigdon's scenic and lighting design creates a world that feels appropriately luxurious without overwhelming the actors. The projected images on the back curtain are particularly effective, transforming the stage into churches, elegant interiors, and scenic Riviera locations with beautiful painterly textures that complement the physical scenery instead of competing with it. The lighting shifts naturally from location to location and helps define each scene without calling attention to itself.

The costumes by Kristin Kripp, assisted by Heather Martinez, are another major highlight. I lost count of how many costume changes occurred throughout the evening, but nearly every principal seems to appear in multiple beautifully coordinated outfits. Each costume reflects the personality and status of its character while reinforcing the glamorous atmosphere of the French Riviera. Nothing feels out of place, and the sheer logistics involved in executing so many quick changes are impressive in their own right.

What I particularly appreciate about this production is that it understands exactly what DIRTY ROTTEN SCOUNDRELS is. It doesn't try to make the musical deeper than it intends to be, nor does it apologize for its broad comedy. Instead, it embraces the ridiculousness wholeheartedly while still allowing the relationships underneath the deception to emerge. The show's central question isn't really about who can pull off the better con. From their program note: it's about the personas people create, the masks they wear, and how easily appearances can fool us. Those ideas are still surprisingly relevant decades after the original film debuted, even as the audience is laughing at outrageous schemes and impossible plot twists.

The Wimberley Players have once again delivered a production that is polished, funny, and consistently entertaining. Under Sherri Small's confident direction, the cast throws themselves wholeheartedly into the material, supported by a remarkably efficient technical crew and strong design team. With standout performances from Danny Mosier, Scott Murdock, and Michelle Sergeeff, along with a committed ensemble and first-rate production values, DIRTY ROTTEN SCOUNDRELS provides exactly what audiences are hoping for: two and a half hours of laughter, music, and delightful theatrical escapism.

If you're looking for a fun summer night at the theatre, this production is well worth the trip to Wimberley. Come ready to laugh, enjoy the ride, and remember that in the world of DIRTY ROTTEN SCOUNDRELS, nothing and no one is ever quite what they seem. A note:  this production includes mature humor, sexual innuendo, and themes of deception presented in a comic, farcical style. Discretion may be warranted in considering bringing younger audience members.      

DIRTY ROTTEN SCOUNDRELS

Book by Jeffrey Lane Music and Lyrics by David Yazbek 

Theater Company: The Wimberley Players

Venue: Wimberley Playhouse, 450 Old Kyle Road, Wimberley, TX, 78676

 Jul. 17 - Aug. 09, Fridays-Saturdays, 7:30 pm, Sundays at 2:30 pm 

Running Time: 2-1/2hours, one 15-minute intermission

Tickets: $22-40

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