LAYTON — Few stories blend wit, romance, and revolution as seamlessly as The Scarlet Pimpernel. Based on the classic novel by Baroness Orczy, the musical, with book and lyrics by Nan Knighton and music by Frank Wildhorn, tells of Sir Percy Blakeney. Sir Percy is an English nobleman who lives a double life when he poses as a foolish fop while secretly leading a band of daring men who rescue innocents from the guillotine during the French Revolution. With its sweeping score and clever interplay of disguise and devotion, this story has become a favorite musical for many, including myself.
Opening night of the Silver Cast at the Hopebox Theatre delivered a lively and heartfelt production, co-directed by Becca Rhodes and Spencer Bawden, that captured the spirit of this beloved tale. Though a few moments of staging and technical execution could be refined, the cast’s vocal strength, sincerity, and passion elevated the evening into something really special.
At the center of the show is Ricky Dowse as Sir Percy Blakeney, whose dual nature as the foolish dandy and the heroic rescuer requires both sharp comedic timing and emotional depth. Dowse brings both in abundance. His portrayal of Percy’s foppish persona is delightful. Yet beneath the frilly cravats and cuffs, Dowse reveals a man of true feeling and conflict. In quiet moments, his eyes communicate the weight of secrecy and heartbreak that his forced smile conceals. Dowse has a bright tenor voice and sings with clarity and emotion. Even when faced with a technical mishap late in the show, when the guillotine prop failed to operate correctly and his wig came loose, Dowse handled the situation with professional grace. He quickly recovered, replaced the wig, rejoined the action, and finished the climactic scene with such conviction that the audience quickly forgave the interruption. His triumphant final moment with Marguerite, culminating in a dramatic dip and kiss, felt all the more satisfying because of it.
As Marguerite St. Just, Chrissy Andreasen brings warmth and sincerity to her role. Her voice is lovely and expressive, carrying a sweetness that makes her performance quite affecting. Her rendition of “When I Look at You” was touching as Andreasen delivered the song with such honesty and tenderness that the audience could feel her sorrow and longing. Andreasen’s chemistry with Dowse is natural and believable. The couple’s scenes together capture the tension of two people bound by love yet divided by misunderstanding. Their reconciliation near the end of the show feels earned, culminating in a moment that stands as one of the production’s strongest emotional payoffs.
Dugan Brunker, a familiar face to Hopebox audiences, commands the stage as the relentless Chauvelin. Brunker’s performance is powerful and layered, portraying the character’s obsession with control and his complicated connection to Marguerite with equal intensity. Brunker’s rich baritone voice is ideally suited to the role, carrying authority and menace. His performance of “Where’s the Girl” was particularly striking, filled with tension and passion that drew the audience into Chauvelin’s inner turmoil.
Among the supporting players, Porter Beesley gives a sincere performance as Armand St. Just, Marguerite’s devoted brother. Percy’s comrades provide much of the show’s energy and humor. Ramsay Andersen (Dewhurst), Andrew Stone (Ozzy), Aaron Burgoyne (Elton), Garrett Collins (Farleigh), Mikey Peterson (Hal), and Carson Young (Ben) bring camaraderie and charisma to every scene they share. Their harmonies in “The Creation of Man” and “Into the Fire” are tight and resonant, showcasing not only the vocal talent of the ensemble but also the sense of unity that defines Percy’s cause.
One particularly effective sequence occurs during “Into the Fire,” as the men transform the stage into their ship, “Rachel’s Resolve.” The sudden appearance of the ship’s mast folding down from an inconspicuous beam and then the seamless assembly of set pieces were all executed with precision. The ship’s name holds a deeper meaning as it honors Rachel Rounds, the Wall of Hope recipient for this production, who is currently battling breast cancer. This dedication added an extra layer of poignancy, embodying the mission of Hopebox Theatre, which is to bring hope and healing through art.
The production’s design and direction come from co-directors Becca Rhodes and Spencer Bawden. The pair made thoughtful use of Hopebox’s compact space and employ a turntable that allowed scenes to shift quickly overall. Some of these transitions, such as the spinning during Marguerite’s ballad, “When I Look At You,” felt overly busy. However, during “The Riddle,” the turntable worked perfectly to mirror the character’s verbal sparring.
Choreography by Wyatt Welch was simple and tight adding just the right flair and movement to the larger ensemble numbers without overwhelming the small stage. Fight choreography by Garrett Stephenson deserves special mention; the swordplay between Percy and Chauvelin was well-executed and fun to watch. Costume designer Livvy Noorchester does a good job of setting the scenes of lavish English aristocracy on a community theatre budget. I particularly appreciated the design and crafting of Marguerite’s white wedding gown and her silver satin gown for the Prince’s ball. One costuming misstep was Percy’s disguise as “Grappin.” The wig used in this sequence was problematic because when Dowse first entered the stage his face was entirely engulfed in the unwieldy locks. Quick-change disguises are notoriously difficult to manage, but the result here was distracting in an otherwise effective scene.
For a community theatre production, this Scarlet Pimpernel is remarkably strong. It delivers humor, passion, and sincerity in equal measure, with enough polish to make its little imperfections forgivable. The Hopebox Theatre continues to impress with the level of talent it draws and the professionalism of its productions. The Scarlet Pimpernel exemplifies what makes this company special: strong voices, genuine performances, and a sense of shared purpose that extends beyond the stage. The production succeeds in capturing the humor, romance, and heroism at the heart of the story, and is one that everyone should see because, in the end, The Scarlet Pimpernel at Hopebox Theatre reminds audiences that courage and compassion can thrive even amid chaos and fear—a message that resonates deeply in both art and life.
