Cabrillo Music Theatre’s ‘Pimpernel’ brings new life to a reworked show.
By Sarah Pye
Living Editor
Who is the Scarlet Pimpernel?
That is the question that was on everyone’s mind Oct. 24 to Nov. 2, when an exciting new production of Broadway’s “The Scarlet Pimpernel” played the Thousand Oaks Civic Arts Plaza.
The production, put on as the first in the season of Cabrillo Music Theatre, is the fourth version of “The Scarlet Pimpernel,” seen on Broadway from 1997 until 2000. It tells the story of an English aristocrat, Percy Blakeney, who adopts the superhero-like persona of the Pimpernel to rush in to save his friends in the French aristocracy from “Madame Guillotine” during the massive bloodletting of that country’s revolution.
To detract from the fact that he is in reality the man behind the heroic Pimpernel, Percy adopts a decidedly feminine persona at home, much to the consternation of his new bride. Though he is brave and dashing overseas, Percy concerns himself with matters no more serious than the latest fashions while at home — causing his wife to wonder if her husband is really interested in women at all.
Robert J. Townsend is delightful in his treatment of the title role. From his intense singing voice to his excellent comedic timing — not to mention his dashing good looks — Townsend is a young actor with a fast-rising star.
Really, Townsend’s task was far from a simple one: filling the ever-so-talented shoes of Douglas Sills, the be all and end all of everything Pimpernel, would be a daunting task for any actor to undertake.
Sills saved the Broadway production of Pimpernel, which endured its first three retoolings before closing in New York and embarking on a national tour, still with Sills in the lead. Sills has become so engrained in the show’s very essence that it is difficult to envision a production without him.
And yet Townsend made us, if not forget about his role’s predecessor, at least rejoice in the fact that Cabrillo Music Theatre did a darn good job of finding a worthy replacement.
Equally charming was Townsend’s Percy — a true sissy if there ever was one. Townsend nearly stopped the show with his delightfully hilarious hissy fit over his ruby satin outfit for the Prince’s ball.
Playing opposite Townsend as his misunderstood French wife Marguerite St. Just was the lovely Kirsten Benton Chandler. Though the chemistry between Townsend and Chandler was at times lacking, the leading lady matched her male counterpart step for step in singing ability, especially in the particularly enjoyable “When I Look At You” from the first act.
In the role of corrupt French official Chauvelin (or “Shovelin’” as Percy delighted in pronouncing it), Kevin Bailey brought yet a third superb singing voice to the cast, though his attempt at a French accent left something to be desired. But Bailey’s rendition of “Falcon in the Dive” gave the show what every good musical needs — one good, strong bad guy-number.
And, of course, we cannot forget Pimpernel’s male ensemble, likely one of the show’s biggest selling points. Percy’s band of seven merry men is amusingly prissy, and their “The Creation of Man,” in which the eight prance about in their shimmery finest, is a definite highlight.
In all, despite some bad accents and lack-luster sword fighting, The Scarlet Pimpernel came through with flying colors.
November 06, 2003