Dirty Rotten Scoundrels is a production that is very dear to my heart, as it represents my first tentative steps onto The Little Theatre stage nine years ago. While it’s not a big seller, it boasts some great songs and offers the opportunity for a little silliness, a lot of humour, and a dose of delicious mischief thrown in for good measure.
The plot unfolds as two rival con artists—one suave and sophisticated, the other brash and opportunistic—find themselves working the same glamorous stretch of the French Riviera. The grandeur of the set, designed by Steve Elliott, really encapsulates the opulence of this lavish setting. What begins as a battle of egos quickly escalates into a high-stakes wager: the first to swindle a naïve young heiress out of a substantial sum wins, while the loser must leave town for good. As the schemes grow increasingly elaborate, the true brilliance of the narrative lies in its twists and turns, with the rug being pulled out from under the audience on more than one occasion.
Admittedly, at times the plot can be difficult to follow, becoming so tangled in its own cleverness that it risks losing the audience altogether. Indeed, I found a friend of mine frantically scanning the programme in the interval, trying to piece together what had happened so far. It’s a testament to the show’s ambition and wit, but also a reminder that, at times, its intricacy can come at the expense of clarity.
For this reviewer—and it could absolutely have been first-night nerves, especially for any newcomers to The Little Theatre stage—Act 1 in particular feels a little unbalanced, with a lack of consistency that at times disrupts the flow of the piece. Certain moments are played with an exaggerated, almost caricatured energy that tipped into overacting, while others feel comparatively flat and underplayed, lacking the clarity and intention needed to land effectively. As a result, some of the sharper comedic beats miss their mark, while more subtle moments fail to carry the weight they need. Notably, however, Act 2 is much sharper, more balanced, and more controlled, which suggests that the cast had found their legs (excuse the pun) once they had warmed up. This bodes very well for the remainder of the run and for future audiences.
Without a doubt, Freddie Perkins (playing Freddy Benson) is the standout performer in this show, bringing a vibrant energy and infectious sense of humour to the stage that lifts the entire production. His performance is particularly strong in “Great Big Stuff,” where his charisma and playful physicality fully capture Freddie’s larger-than-life ambition, and again in “All About Ruprecht,” which is delivered with impeccable comic timing and a wonderfully exaggerated flair. He strikes a confident balance between bold characterisation and genuine entertainment, ensuring that whenever he is on stage, the audience is fully engaged and visibly enjoying the moment.
He also shares excellent chemistry with Lizzie Bywater-Florance (Christine Colgate), who brings a genuine sweetness to the stage, offering a refreshing sense of warmth and apparent sincerity amidst the show’s layers of deception. Her performance has a quiet charm that makes the character instantly likeable, and she holds the audience’s attention with an understated confidence. This is particularly evident in her rendition of “Love Is My Legs,” a memorable moment in the performance, delivered with both vocal strength and emotional clarity. It strikes a perfect balance between humour and heart, earning a well-deserved response from the audience.
Allan Smith (André Thibault—the corrupt chief of police) and Alexandra Elliott (Muriel Eubanks—a rich socialite) also have me giggling in my seat, bringing a layer of playful, risqué humour that landed well with the audience. Their exchanges are delivered with confidence and sharp timing, allowing the more suggestive jokes to feel cheeky rather than forced. There is a clear sense of fun in their performances, and their on-stage rapport adds an extra spark to their scenes, contributing to the show’s overall sense of wit and mischief.
Chris Hiam, as Lawrence Jameson, embodies the role with a convincing sense of suave sophistication, maintaining composure even when faced with a failing mic—something he handles with admirable professionalism, never breaking character or losing the audience’s trust. His performance in “Love Sneaks In” is a particular highlight, delivered with authenticity. His turn as Dr Shuffhausen is especially strong, leaning into the absurdity of the role with precision and comic control.
Great big fun is always to be had when the ensemble take to the stage, with choreography by Demi Leigh Essex. This production includes some long stretches of instrumental music, which are well filled with energetic dancing. There are moments for individual members of the ensemble to shine, but one of my favourites is the statue—who I believe is played by Carla Smith (though I am more than happy to be corrected). It goes to show that even a relatively small role can be hugely memorable; I particularly love the nuanced comedy conveyed through little more than facial expression and body language.
The lighting design (Andy Crooks and Douglas Finlay) adds a polished layer to the production, enhancing both the atmosphere and storytelling throughout. In particular, the use of spotlighting brings a striking sense of sultry, 1920s-inspired glamour to the stage, perfectly complementing the show’s Riviera setting and seductive tone.
Bringing this show to life, director Steve Elliott should be very proud. It’s not an easy production to stage, with its fast pace, double bluffs, shifting identities and increasingly elaborate schemes layered on top of one another—but it’s clear that plenty of fun has been had along the way.
Dirty Rotten Scoundrels is playing at The Little Theatre in Leicester until Saturday 25 April.
