City Lit’s “Scaramouche”/Photo: Steven Townshend of Distant Era
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“He was born with a gift of laughter and a sense that the world was mad. And that was all his patrimony.”
“Scaramouche” by Rafael Sabatini is one of the twentieth century’s most entertaining novels. It has sword fights, romance, comedy, tragedy, the French Revolution, silly masks and dark secrets. It was a bestseller after its 1921 publication and deserves a rediscovery.
A musical version of “Scaramouche,” making its world debut at City Lit Theater, captures the rambunctious, eloquent soul of this swashbuckling classic. The book by Kingsley Day and James Glossman is smart without being cynical and manages to be both silly and heartfelt. Day’s original music and lyrics are reminiscent of both Leonard Bernstein’s “Candide” and any Gilbert and Sullivan—bright, varied and full of sharp wordplay.
The play stars Ethan Smith as André-Louis Moreau, a sardonic lawyer in eighteenth-century France who is skeptical of the idealism of his best friend, Philippe de Vilmorin, (Connor Ripperger). A priest in training, Philippe sings of the suffering of the French peasants in “The Time Has Come.” His eloquence annoys the villainous Marquis de la Tour, played with delightful, laughing menace by Kent Joseph. They duel, and Philippe is killed. Heartbroken, Moreau pledges to take on Philippe’s cause and be his voice, preaching revolution to the crowds.
Moreau soon runs afoul of the nobility and must go into hiding. He first joins a troupe of commedia dell’arte players, becoming both their playwright and “Scaramouche,” the character of a scheming servant. He later becomes a statesman and a master swordsman, looking for a chance to avenge himself on the wicked Marquis.
The show is directed by Beth Wolf, founder and producing artistic director of the wonderful Midsommer Flight, which does Shakespeare in Chicago parks. She knows how to keep things moving, and the action flies by, particularly in the first half. Most of the talented cast members play multiple parts—Ripperger (who appeared with Smith in last fall’s excellent Music Theater Works’ “Godspell”) plays not only Philippe, but a king’s lieutenant, a nobleman, a hilariously inept member of the theater troupe and a fencing pupil. The versatile Henry Michael Odum plays Quintin de Gavrillac, Moreau’s guardian; Pierre Binet, the bombastic, scheming leader of the theater troupe; and Bertrand des Amis, a fencing master, all with heart and intelligence.
City Lit’s “Scaramouche,” with Ethan Smith and Laura Michele Erle/Photo: Steven Townshend of Distant Era
The charismatic Smith is well cast as Scaramouche, with a supple voice suited to both love ballads (“By Candlelight”) and comic songs like “A Brand New Play.” The latter is one of the strongest songs—a patter tribute to the tradition of stealing from other writer’s work, which includes a rapid-fire list of French and English playwrights. “Shakespeare stole from Plautus/Do as Shakespeare taught us,” Moreau advises. It’s a reminder that this play was itself taken from a book—thank goodness for copyright expirations.
Another catchy number is “Entitled to Be Happy,” sung by Smith and the strong Laura Michele Erle as Moreau’s childhood friend Aline.
The show’s momentum slows in the second act, which begins with “On with the Show,” an ensemble song about the downside of show business. It’s clever but doesn’t advance the story. The play’s second half could use a little trimming.
The cast is strong overall, with good voices and ensemble work. Particularly funny are Alicia Berneche as “Madame,” an imperious, fan-snapping member of the theatrical troupe, and Shea Lee as “Benoîte,” an exceedingly slow-moving servant. India Huy is graceful and seductive as Moreau’s love interest Climène. But her lovely voice is sometimes drowned out by the small orchestra (directed by Kevin Zhou behind the stage).
The eighteenth-century costumes by Jennifer Mohr are beautiful, and the set by Trevor Dotson is both simple and effective, with an old-time stage platform featuring red curtains and gold-painted, clam-shell footlights. Dreamy, Impressionist-style scenes from the French countryside and Paris are projected onto the stage backdrop—DJ Douglass did the projection design.
George Sidney, who directed the 1952 movie version of “Scaramouche,” is reported to have said that he thought the book should be a musical. This is it—a musical worthy of its source. If you like a comedy-adventure-romance mixed with dueling and song, go see this show.
“Scaramouche” is on stage at City Lit Theater Company through June 14. Tickets available here.
