Dirty Rotten Scoundrels

Moonbox Productions

Arrow Street Arts Center

Cambridge, MA

September 28 – October 20 2024

Moonbox Productions‚ once again, delivers a top-notch production of a Broadway musical. This season’s opening score is Dirty Rotten Scoundrels, David Yazbek and Jeffrey Lane’s 2004 musical based on the 1988 movie. The set is sleek, the orchestra lush, the dancing phenomenal. Matthew Zahnzinger is suave as Lawrence Jameson. Shonna McEachern’s voice resonates all the way back to soap-queen Christine Colgate’s native Cincinnati, and Tader Shipley spins a star turn as an Okie Oil-heiress on the hunt. But the real reason to go is: Phil Tayler. This man can amp up any manic stage role to eleven. He’s so frenetic and hilarious you wonder how he can possibly sustain the energy through Act Two. But his zaniness spirals right through curtain calls.

The plot of Dirty Rotten Scoundrels is thin, really just a through line to link hysterical send-ups. A pair of con men—one sophisticated, one boorish—elbow each other for a French Riviera turf and then make a bet to see who can swindle an American heiress. The show has an old-school musical feel: the eight-person song and dance team twirl onto the stage on the flimsiest pretense. But who cares because they are so very fun to watch! Dance Captain Jake Siffert is a stand out in every number. I wish they could have found a way to solo showcase his amazing ability.

I attended the Press Opening, but due to some snafus in days before, Moonbox announced it would be a ‘soft opening:’ i.e. there might be few flubs. In fact there were. Some rocky transitions, a couple of dead moments, a few too many times when the dancers had to reference each other to make sure they were on step. All of which I am confident will get smoothed by the time you read this. On the flip side, the rare times when Matthew Zahnzinger or Phil Tayler missed a line during this dress-dress rehearsal they recouped it, in character, with such wit, they simply added to the silliness.

There are two significant elements of the show that disappoint: both due to problems with the play rather than Moonbox’s production.

First, the second act is too long. There had to be three, four, maybe even five places where I thought the show would end, but no, it kept on going, without offering any fresh satisfaction. Too much coming and going in an overly complex resolution of the plot (which we hardly care about anyway). I wished for one more big number so we could all exit humming and tapping.

Second, the characters are unlikable. No matter how wonderful Zahnzinger and Tayler are, they play—as advertised—dirty rotten scoundrels. For me, this is a problem in a musical. When we, the audience, suspend belief to the level that we accept people singing and dancing as an appropriate response to any joy or tragedy, we do it to embrace themes and emotions that rise to a musical pitch. Therefore, it’s important to like the main characters, even better to embrace their cause. Sorry, David Yazbek. The two low-life’s who headline this show are simply not worthy.

So, put aside any noble ideas and go see Dirty Rotten Scoundrels anyway. The surface fun that Moonbox delivers. Every bit as good as Broadway. As close as Harvard Square.