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NEW HAVEN, Conn. A Radio City Entertainment and Ted Forstmann presentation of a musical in two acts with book and lyrics by Nan Knighton and music by Frank Wildhorn, based on the novel by Baroness Orczy. Directed and choreographed by Robert Longbottom. Musical director, Andrew Wilder. Sets, Andrew Jackness; costumes, Jane Greenwood; lighting, Natasha Katz; sound, Karl Richardson; fight director, Rick Sordelet; special effects, Jim Steinmeyer; orchestrations, Kim Scharnberg; musical supervision, Jason Howland; vocal arrangements, Ron Melrose; music coordinator, John Miller; production manager, Peter Fulbright; production stage manager, Harold Goldfaden. Opened, reviewed Feb. 22, 2000. Running time: 2 HOURS, 40 MIN.
Marguerite         Amy Bodnar
Chauvelin          William Paul Michals
Percy              Douglas Sills
Marie              Elizabeth Ward Land
Armand             Billy Sharpe
Tussaud            John Paul Almon
Copeau             Stephonne Smith
Mercier            Russell Joel Brown
Ozzy               Harvey Evans
Elton              Peter Flynn
Dewhurst           Ken Land
Jessup             Stephen Hope
Ben                Aaron Paul
Farleigh           Matthew Shepard
Hal                D. B. Bonds
 Prince of Wales   David Cromwell

With: Matthew Farver, Rebekah Jacobs, Elizabeth O'Neill, Terry Richmond, Marisa Rozek, Chloe Stewart, Michael Susko, Jennifer Zimmerman.

Nan Knighton and Frank Wildhorn's mechanically manufactured "The Scarlet Pimpernel" is hardly a first-class musical, but the producers of the national touring version have given it a first-class physical production. Jane Greenwood's lavish, over-the-top costumes and Andrew Jackness' sets -- from flickering Comedie Francaise footlights and false proscenium to an elevating platform and a trio of ballroom chandeliers -- glow with a newly minted band-box freshness that presents the musical in the best possible light. If a few problems are fixed it's quite likely that this touring production will be a success on the road.

The trio of problems are a less than ideal leading lady, an overlong first act and a muddled ending. Fortunately the production has two strong assets in its leading men, Douglas Sills and William Paul Michals. Sills is repeating his Tony-nominated turn from the Broadway production in this slightly reworked version of the final "Pimpernel" seen in New York. He still has sufficient panache and matinee-idol looks to overcome a slight physical heaviness. Newcomer Michals as Chauvelin is all dark-voiced, dark-browed villainous glamour in a portrayal of welcome stature.

The rest of the cast works with commendable vigor and skill, with the unfortunate exception of Amy Bodnar as Marguerite. Director-choreographer Robert Longbottom must take some of the blame for her charmless, out-of-depth performance, as should musical director and conductor Andrew Wilder, who allows her to shriek her songs. (A solution could be easily implemented: Elizabeth Ward Land, a veteran of the Broadway company who is playing Marie at the moment with considerable warmth and feeling, is one of the two Marguerite understudies.)

This production was assembled, rehearsed and teched at New Haven's Shubert Theater prior to its opening there. Longbottom, who re-directed and re-choreographed the musical for the last two of its three Broadway manifestations, did so again here, though his contributions are anything but inspired. Wilder conducted his buoyant pit band at the opening with considerable skill through Kim Scharnberg's period-flavored orchestrations of Wildhorn's generic music. The company's singing was particularly fine in the musical's choral moments.

In their musicalization of Baroness Orczy's bestseller, Knighton and Wildhorn have clearly opted for comedy more than adventure or drama. The audience's favorite number, justly so, was "The Creation of Man," in which Sir Percy and his cohorts masquerade as flouncing exquisites to deflect suspicion that any of them could possibly be the Scarlet Pimpernel. The performers cleverly walk the fine line between flamboyant heterosexuality and blatant camp. Would that the musical as a whole provided such sustained enjoyment.

Sills, far from incidentally, is contracted for only the first four months of the tour, through the end of its run in Los Angeles on June 18.
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Title Annotation:Review
Article Type:Theater Review
Date:Feb 28, 2000
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