Grunion Gazette By Robert S.
Telford
"The Scarlet Pimpernel" at Musical Theatre West is bound to be a popular production
at CSULB's Carpenter Center. It came hard on the heels of the mega-hit "Les
Miserables" at the Terrace Theater, which was a serious look at the harshness
of the French authoritarians, one during the Revolution and the other after.
But the seriousness of authoritarianism is at the core of both scripts, and
when that bite is gone, so goes the ultimate "grab" of the script. There was
an obvious decision by director Wayne Bryan, choreographer Julie Letsche and
the cast to play the Pimpernel and his League not as fops but as effeminates.
Apart from being historically inaccurate, potentially offensive and counter
to the plot, it opened the door to a host of campy gags. After all, there
is "The Gavotte." Originally, fops were merely men who cared most about their
appearances. Look it up. The word is in the dictionary. During WWII, they
were Zoot Suiters. In contemporary terms they are rock stars, rappers and
not a few professional basketball players who go for rings and things and
are unlikely Candidates for Delta Force in Afghanistan. Hence Sir Percy's
ploy to behave like fops and avoid being taken for underground fighters in
France. One can do the same with flaming queens - obviously - but it's not
the point that the original story was geared to make. The consequences are
that we got a lot of laughs at the expense of some members of society, but
we lose the harsh reality of people being beheaded for what they believed.
Sounds rather contemporary, doesn't it? But tension has given away to titillation,
and an audience that laughs at the beheading on a guillotine is not, what
you might say, caught up in the drama. Most mature audiences remember "The
Scarlet Pimpernel" from the classic film with Leslie Howard, who must be spinning
in his grave over the current interpretation of his Sir Percy. Michael DeVries
is a more than capable Sir Percy, and the decision to forego the peacock,
the strutting rooster and the pouter pigeon in favor of camp is puzzling.
He undoubtedly could have handled the original intent easily and done better
by his audience. On the other hand, Roger Befeler portrays Percy's nemesis,
Chauvelin, with tremendous bite and conviction, all but walking off with the
show. It's Befeler's uncompromising commitment to character that keeps this
production alive, and, despite the distractions, the opening night audience
recognized this. Kim Huber displays an excellent voice, somewhat overworked
at the moment, in the role of Percy's lady, Marguerite St. Just, although
she's not quite the free-love figure of the tortured blackmail victim one
might expect. An ironic bit of casting is the selection of Percy's League
from candidates all about eight or 10 inches shorter then Michael DeVries.
In fact, when John B. Williford as Armand joins the League and the seven members
line up behind Sir Percy, one begins to pick out Grumpy, Sneezy and Dopey.
The Carpenter Performing Arts Center is a unique performance space. One can
almost spit from the farthest seat onto the stage. If there were ever a theater
where the natural voice could be enjoyed without electronic enhancement it
would certainly be the Carpenter. And yet, the "Scarlet Pimpernel" cast is
virtually all body-miked. It's like being seated before a large TV screen
- not stereophonic, mind you, because the sound stays the same no matter where
the performer might traipse. But it's a shame we should be treated to what
sounds like a recording when the natural voice is right there, so close, and
so rarely heard these days. Still, as noted, "The Scarlet Pimpernel" will
undoubtedly do well. It's a flashy, colorful show, and it has all those politically
incorrect, campy laughs. Performances continue through Nov. 4. Call 430-2324
or visit the Web site, ww.musical.org.
