PLEASANT GROVE — Action, adventure, love, lies; if these words pique your interest, especially when talking in the realm of musical theatre, then you might want to check out The Scarlet Pimpernel at the Ruth. Based on the classic novel by Baroness Orczy, this musical adventure contains exciting music by Frank Wildhorn as well as its book and lyrics by Nan Knighton. The Ruth’s production is directed by David Morgan who leads his team with vibrant designs, dynamic performances, and stunning vocals, jolting The Scarlet Pimpernel to life.
Editor’s Note: This reviewer attended a performance on Thursday, July 9th. This show is double cast with alternating actors on Mon, Wed, Fri & Tues, Thurs, Sat. This review covers the Tues, Thurs, Sat cast.
The Scarlet Pimpernel tells the story of the English nobleman Sir Percy Blakeney who marries Frenchwoman Marguerite St. Just in the midst of the Reign of Terror during the French Revolution. Blakeney is outraged by the seemingly senseless killing of so many aristocrats by the French guillotine, and in efforts to assist his French friends, assembles a crew of men to join him in rescuing them. This group of men, however, must disguise themselves, forcing Percy to create the alter-ego: The Scarlet Pimpernel. When Marguerite, his new bride, is suspected of being a French spy in cahoots with Citizen Chauvelin, all must unweave the web of lies that ensnares each of the characters.
Though the previous paragraph’s synopsis might seem like it gives a lot of the plot away, have no fear. That occurs all within the first several minutes of the show. The pacing of the script in this production is fast, and it is jam-packed with music, romance, adventure, and more. In fact, the speed in which it moves is one of the biggest strengths of this production, as the quick pacing of Act I allows the slower moments of Act II to carry even more emotional weight. Director Morgan’s choice to create show-stopping numbers out of the first few opening songs, especially “Madame Guillotine” creates this momentous effect that thrusts audiences into the rapid world of the Reign of Terror.
Similarly, many of the design elements match the intensity of the direction by using vibrant colors and patterns. The lighting design by Ryan Fallis creates bold images of the performers onstage, utilizing color and geometric shapes to emphasize themes of each character. The lighting design is particularly engaging during songs that feature opposing characters, such as in “Into the Fire,” and “The Riddle.”
The energetic lighting design is matched in quality and visual interest by Lauri Baird’s costume design. The sheer volume of costumes for the large cast, many of whom play multiple characters or require multiple outfits, is only in competition by the volume of the costumes themselves. Baird’s designs are large and bountiful, especially when it comes to Marguerite’s many gowns. There are so many intricate details that adorn each costume piece, it could be another show just to walk through their beautiful designs.
The many actors who occupy the vivacious stage each bring a unique perspective to their role while maintaining a high quality of acting. Scott Hendrickson as Sir Percy Blakeney is a remarkable example of how good casting brings an actor to life, as well as a script. Hendrickson is breathtaking in his performance. As a local theatre reviewer, I occasionally see familiar faces, and Hendrickson is one who I have seen before, but this confident and capable onstage. He commands the stage, using his impeccable singing voice to soar the score of the show to new heights. Additionally, Hendrickson masterly balances the dramatic intensity of the Pimpernel with the feigned spritely buoyancy of Percy. The juxtaposition within his performance of this character lends itself to many moments of hilarious comedy, deliberate tension, and pure awe in the audience. This role is one that seems made specifically for Hendrickson.
Malia Morley as Marguerite proves herself to be Hendrickson’s vocal equal, especially in terms of her fluency with the French language. As the predominant French character, Morley’s accent work is consistently impeccable, not even wavering during her multitude of songs. This is similar for all actors onstage, courtesy of the infallible work of dialect coach Steven Rimke. Additionally, Morley’s singing voice is poignant and crisp, conveying a fierce and vigorous Marguerite that is only softened by Percy’s embrace.
Bronson Dameron rounds out the triangle of deceit with his ferocious depiction of Citizen Chauvelin. Whatever Dameron may lack in the level of vocal agility as his fellow stars, he makes up for in gritty, growling determination. His Chauvelin will never quit, even to his last breath, and I believe that Dameron is the same way regarding his performance. This is seen at the end of the musical, as one of the most realistic swordfights takes place onstage. Fight choreographer Spencer Hohl astonishes with his detailed and lengthy battle sequences.
The intensity of the script, the actors, the direction, and the design create a non-stop, dashing, swashbuckling adventure of The Scarlet Pimpernel. If you are looking for action, adventure, love, or lies, take a voyage to Pleasant Grove to enjoy this special production.
MORE INFO: The Scarlet Pimpernel runs until August 22nd at the Ruth Theater in Pleasant Grove, (401 South Pleasant Grove Boulevard, Pleasant Grove, Utah 84062). Tickets range from $23-$75. More information can be found on The Ruth’s website here.
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