The Scarlet Pimpernel
Minskoff Theatre - November 1997
Review by John Kenrick
Whatever is right or wrong with it, The Scarlet Pimpernel has
performed the glorious task of bringing Christine Andreas back
to Broadway. This alone wins it a permanent place in the Musicals101 hall of fame. In the
70's and early 80's, Ms. Andreas dazzled Broadway in stunning revivals of My Fair
Lady, Oklahoma and On Your Toes. To see her back on Broadway has given
many theatre buffs reason to cheer. The only problem is that the show she's starring in is
not quite on a par with her past vehicles. Pimpernel is not a bad show, but
it certainly is not one of the all time greats.
"They
seek him here, they seek him there . . ." Recent headlines suggest they still seek
the elusive key to making The Scarlet Pimpernel into a great show. Its new
producers, Madison Square Garden Productions, intend to re-stage and re-cast the show even
though it’s many months into its Broadway run. Perhaps they see the property as a
promising addition to their annual cycle of lavish touring productions (Christmas
Carol, Wizard of Oz). I hope they succeed. The current Pimpernel has many
lovely things to offer, but I do think its creators stopped a bit short of making it the
show it could be.
It’s a great idea for a musical. I’ve thought so
ever since I fell in love with the wonderful movie versions starring Leslie Howard and
Anthony Andrews. All that romance and swashbuckling would be perfect material for a
1920’s-style costume operetta. The only problem is, who could write a Desert Song
or New Moon for the 1990’s? Is there another Sigmund Romberg out there?
Composer Frank Wildhorn and lyricist Nan Knighton give it
one hell of a try, but the score as heard in the current Broadway production is slightly
schizophrenic. It can’t decide whether it wants to emulate Romberg ("Into the
Fire"), Webber, or Larson. Any one approach might have worked – all three at
once do not. Ms. Knighton’s book occasionally loses focus and takes bits of the story
too seriously, but she often injects some much-needed humor in the proceedings –
humor that the score could have used a great deal more of. Swashbuckle without a smile is
little if any fun.
The other major problem seems to be director Peter Hunt.
His understated approach, leaving people standing or sitting idly much of the time, worked
well for the original 1776, but has failed in several other shows since. Pimpernel
called for someone with a sense of dash to offset the possible stuffiness of its period
setting. Hunt’s approach slows down lively moments and makes quieter scenes appear
semi-comatose. The "good guys" merely mean well and the "bad guys" are
merely nasty. Without praiseworthy heroes and despicable villains, a story like this has
no swash in its buckle.
On the plus side, Pimpernel has as fine a cast and
physical production as any show could hope for. The sets and costumes are always lavish
and occasionally breathtaking – as when a sailing ship materializes in the middle of
"Into the Fire." Terrance Mann does another fine turn as the evil Chauvelin,
even though he is saddled with some of the score’s weakest songs. The divine
Christine Andreas looks and sounds magnificent as Marguerite, but the role as written
gives her limited opportunities. Even the lush "Only Love" retreats from the
kind of musical climax she could have used to stop the show.
No limits are placed on Douglas Sills, a Broadway newcomer
who gives a super-star performance in the title role. It’s the kind of bravura
performance Alfred Drake was once known for, with beautiful singing and flawless acting
that fills the theatre with Mr. Sills presence. Here is the sort of new musical stage star
we are not supposed to see anymore!
So if The Scarlet Pimpernel is not My Fair
Lady, that's no tragedy. Like Take Me Along or Flower Drum Song,
it's a less-than-perfect but rather entertaining show. You may not adore it, but odds are
musical lovers won't regret seeing it.
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