Dirty Rotten Scoundrels

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Dirty Rotten Scoundrels: A Con-Artist Caper on the West End

"Dirty Rotten Scoundrels," a musical comedy with music and lyrics by David Yazbek and a book by Jeffrey Lane, premiered in London’s West End at the Savoy Theatre on March 10, 2014, officially opening April 2 after pre-show tryouts in Manchester and Aylesbury. Running until March 7, 2015, for 349 performances, it adapted the 1988 film starring Michael Caine and Steve Martin into a theatrical romp. Set on the French Riviera, it follows suave conman Lawrence Jameson and brash upstart Freddy Benson as they vie to swindle $50,000 from heiress Christine Colgate, only to discover she’s a sharper crook than either. Directed by Jerry Mitchell, the show returned in a 2024 concert at the London Palladium, reaffirming its status as a witty, tune-filled West End favorite.

Origins and Development

The musical’s roots trace to its 2004 premiere at San Diego’s Old Globe Theatre, hitting Broadway in 2005 for 626 performances with stars like John Lithgow and Norbert Leo Butz, earning 10 Tony nominations and a win for Butz. Inspired by the film itself a remake of 1964’s "Bedtime Story" Yazbek and Lane spun a score and script from scratch, avoiding a jukebox format. The West End version, produced by Ambassador Theatre Group and Jerry Mitchell Productions, tweaked the book for British audiences, restoring "Give Them What They Want" in a new setting and cutting "Chimp in a Suit." After its US success, the UK debut leveraged Mitchell’s choreography pedigree from "Kinky Boots" to bring Riviera glitz to London.

The 2014 West End Run

Opening at the Savoy, the production starred Robert Lindsay as Lawrence, Rufus Hound (later Alex Gaumond) as Freddy, and Katherine Kingsley as Christine, with Bonnie Langford as Muriel Eubanks and Gary Wilmot as Andre. Peter McKintosh’s sets and costumes conjured a sun-soaked French coast, while Mitchell’s direction and choreography infused the con games with flair. Critics lauded its slickness Charles Spencer of The Daily Telegraph gave it four stars for “entertaining” staging though some, like The Financial Times, found it overly silly. Extending bookings to March 2015 after strong early buzz, it drew fans of the film and musical comedy alike, closing after a year of laughter and twists.

Musical and Theatrical Highlights

Yazbek’s jazzy score shines with numbers like "Great Big Stuff," Freddy’s ode to excess, and "The More We Dance," Lawrence’s seductive ploy. "Love Sneaks In" and "Nothing Is Too Wonderful to Be True" add tender beats, while "Ruffhousin’ mit Shüffhausen" delivers a comedic peak as Freddy’s faux-Prussian alter ego. The 2014 cast recording captures Lindsay’s charisma and Kingsley’s versatility, with Mitchell’s choreography think line-dancing in "Oklahoma?" adding visual punch. The Palladium concert on November 24, 2024, with Ramin Karimloo as Freddy and Hadley Fraser as Lawrence, paired these tunes with a live orchestra and Mountview Choir, amplifying the show’s infectious energy.

Revivals and Concert Comeback

Post-2015, the musical toured the UK, hitting Birmingham and Glasgow in 2015, and went global with productions in Australia, Germany, and South Korea. Its Broadway cast recording earned a Grammy nod, cementing its musical cred. The 2024 London Palladium concert, directed by Rupert Hands with musical direction by Adam Hoskins, marked 20 years since its San Diego debut. Starring Karimloo, Fraser, Carly Mercedes Dyer as Christine, and Janie Dee as Muriel, it played two shows 2:30 PM and 7:30 PM reviving the Riviera rivalry for a new audience. This one-night event, produced by Lambert Jackson and Positive Sum, underscored its enduring appeal.

Legacy and Cultural Impact

"Dirty Rotten Scoundrels" carved a niche in West End history with its 2014 run, blending film nostalgia with theatrical zest. Its Olivier-nominated cast and Mitchell’s polished staging earned it a “scandalous delight” tag from The Sunday Times, though it didn’t match Broadway’s longevity. The 2024 concert reaffirmed its draw, spotlighting Yazbek’s versatile score and Lane’s clever book. Outpacing its film-to-stage peers in humor and heart, it influenced later con-themed shows while proving musical comedy’s staying power. As of March 2025, it remains a West End highlight sharp, stylish, and gloriously deceitful.