Review: SCARAMOUCHE at City Lit Theater

French aristocrats, revolutionaries, traveling comedy troupes, swordsmen — Scaramouche packs it all in this world premiere musical that doesn’t stop moving and keeps you laughing. 

Directed by Beth Wolf, Scaramouche is based on Rafael Sabatini’s 1921 novel of the same title. Set during the French Revolution, this is a classic adventure story that follows the exploits of a sardonic provincial lawyer who is radicalized by his friend’s brutal murder. It opens with the line, “He was born with a gift of laughter and a sense that the world was mad."

The “he” in question is André-Louis Moreau (Ethan Smith), the sharp lawyer with unknown parentage who we first meet in a state of contentment. Smith captures the multitude of André-Louis with ease and plays the lead with a disarming smile and playful yet passionate personality. 

André-Louis’s Best Friend Philippe de Vilmorin (Connor Ripperger) grips your attention at the start with the gift of eloquence and a stirring number calling for equality and justice in “The Time Has Come” — only to be murdered in a duel by the powerful nobleman Marquis de la Tour (Kent Joseph) within the first ten minutes. (Not to fear though, as Ripperger returns as other characters in the ensemble, including brilliantly acting as someone who cannot act.)

Thus propels André-Louis on a revenge arc and, radicalized by Philippe’s death, stumbles through a series of new identities as he becomes a revolutionary orator wanted for sedition, a traveling comic actor-turned-writer, and a master swordsman — but no matter where he goes or which identity he assumes, he can’t escape his past and the ghost of Philippe. Nor can he get away from the paternal support of The Manager (Henry Michael Odum) who plays Quintin de Gavrillac, André-Louis’s godfather who raised him, Pierre Binet, the comedy troupe’s leader, and Bertrand des Amis, a fencing master. Another constant presence is Aline de Gavrillac (Laura Michele Erle), the aristocratic niece of de Gavrillac who is set to marry the Marquis but cares deeply for André-Louis and looks out for him throughout.  

To round out the ensemble, Shea Lee, Rushil Byatnal, Ed Rutherford, India Huy, and Alicia Berneche all wear different hats in each of André-Louis’s various lives. The three-piece pit band consisting of a keyboard, cello, and flute/clarinet fills the theater with their lively accompaniment. There’s even a charming cameo from Music Director Kevin Zhou in the first act. 

The show makes the most out of an intimate stage in the theater on the second floor of the Edgewater Presbyterian Church, thanks to projections designed by DJ Douglass, lighting designed by Jackson Mikkelsen, props designed by Meg X. McGrath, and choreography from Beth Wolf, Ray Post, and Maureen Yasko. 

With music and lyrics from City Lit Artistic Associate Kingsley Day and the book by Day and James Glossman, there is much to be lauded in the writing. This production excels in its comedic moments – from playful physical comedy (particularly Shea Lee as a maidservant) to thoughtful use of props to snappy one liner comebacks and banter. There’s an element of self-aware parody, particularly the reflections in “A Brand New Play” on stealing original produced material and turning it into something new (as this musical is based on a novel itself). In another nod, Act II opens with a number that commentates on the exasperating behind-the-scenes workings of the theater. 

There are also heartfelt moments, notably Smith’s captivating reprise of “The Time Has Come” as André-Louis vows to carry the torch of his befallen friend and the gentle duet between André-Louis and Climène (India Huy) in “By Candlelight.” There’s a wide range of song styles throughout, but the four-part polyphony of “A Family Reunion” deserves special recognition as the antepenultimate number, which you wouldn’t know listening to Smith, Berneche, Joseph, and Erle sing their separate lines with such energy and fortitude near the end of a long show. 

Speaking of long show, with a 2 hour 30 minute runtime, there were some musical numbers that didn’t move the plot or develop characters as effectively that probably could’ve been cut. The opening number “The Tale of Scaramouche” with the whole ensemble felt a bit hesitant, but as the show went on, the cast settled into a comfortable rhythm and rapport that gave the production some of its shining moments. While the first act was filled with action and the introduction of a whole traveling commedia dell’arte troupe, the second act lost some of the momentum that was building before the intermission. As we leave the comedy troupe behind, the plot slows down during the fencing era before the questions of vengeance and parentage are resolved. Despite these pacing notes, Scaramouche keeps you engaged with its larger-than-life characters and fun score. 

This world premiere musical feels like a dash of Pirates of Penzance mixed with themes from The Count of Monte Cristo combined with a parodic flourish reminiscent of Urinetown. With a suave lead, strong ensemble, swords galore, and solid source material adapted with eloquence and levity, Scaramouche is certainly a swashbuckling musical that will entertain. 

Scaramouche closes City Lit’s 45th season and runs through June 14, 2026 at City Lit Theater on the second floor of the Edgewater Presbyterian Church at 1020 W Bryn Mawr. General admission tickets are $45, senior tickets are $40, and student and military tickets are $22. Tickets can be purchased at the link below. 

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