TOM TITUS -- Theater Review

To those of us who grew up watching the cinematic adventures of Zorro

and Scaramouche, “The Scarlet Pimpernel,” now rounding out a week’s

engagement at the Orange County Performing Arts Center, is a nostalgic

experience, a return visit to the local Bijou.

While the swashbuckling is regrettably limited to the show’s climactic

segment, the superior voices of the three leading performers make the

wait decidedly worthwhile. The story itself, now just four years from its

centennial, takes on renewed style, flourish and vigor in

director-choreographer Robert Longbottom’s handsomely mounted production.

Based on Baroness Emmuska Orczy’s tale of an audacious and reckless

hero -- a daring plotter who uses tricks and games against the cruelties

of the French Revolution -- “The Scarlet Pimpernel” focuses on a brave

band of Englishmen who risk their lives to oppose the Reign of Terror in

France and rescue intended victims of the guillotine.

Their mysterious leader -- an English nobleman whose French bride may

be a collaborator with the enemy -- masks his identity under a guise of

foppish mincing, much like Zorro’s Don Diego. Only the Pimpernel’s Sir

Percy makes Don Diego look like Hulk Hogan by comparison.

In the current production, created by Nan Knighton (book and lyrics)

and Frank Wildhorn (music, also co-wrote “Jekyll and Hyde” with Leslie

Bricusse), there’s a good deal more pomp than circumstance as Sir Percy

and his dandified cronies apply layers of primping and polish to their

cover identities, to the utter dismay of their acquaintances.

Ron Bohmer thrusts himself totally into both incarnations of his title

character, outrageously camping it up for effect then bursting into full

heroic bloom for the action-laced finale. Bohmer’s exceptionally strong

singing voice serves the show spectacularly on solos such as “Prayer” and

“She Was There” and the full-blooded trio number “The Riddle,” which

closes the first act.

As his mystified wife, Amy Bodnar beautifully conveys her

consternation both dramatically and vocally. She is especially appealing

in her solo “When I Look at You,” desperately seeking a trace of the man

she married or a clue to his strange behavior in what apparently is an

unconsummated relationship.

It is impossible to view William Michals’ French enforcer Chauvelin

without imagining Javert in “Les Miserables” (and, in fact, Michals has

played that role in the past, as well as the Phantom and the Beast, two

other similarly driven characters). His steely “citizen” is decidedly

single-minded, though Bodnar’s Marguerite remains his Achilles heel, a

dalliance of the past now unwillingly serving Chauvelin’s cause.

Among the highlights of “Pimpernel” are the social encounters between

Chauvelin and Sir Percy, who, in full fey flower, mocks his nemesis by

twisting his name into “Shovelin.”’ It’s all intended to build animosity

toward a sword-slashing showdown, which more than delivers the goods --

though Marguerite’s brief entrance into the battle is something of a

contrivance.

Two other notable performances are delivered by Billy Sharpe as

Marguerite’s headstrong kid brother, a member of the Pimpernel’s band,

and Harvey Evans as Ozzy, a Pimpernel ally well along in years.

Peter Kapetan works both sides of the channel effectively as the

befuddled Prince of Wales and the surly French leader Robespierre.

Author Knighton has a little fun with history as well. Those of you

who may wonder how Madame Tussaud’s Wax Museum originated, wonder no

further, thanks to an intriguing bit from Darrel Blackburn and Stephonne

Smith toward the end of the show.

Visually, “The Scarlet Pimpernel” is a magnificent production with

Andrew Jackness’ scenic elements serving as a splendid backdrop for Jane

Greenwood’s superlative period costumes. Douglas Coates conducts the

Scarlet Pimpernel Orchestra, a four-piece unit that sounds like far more

with appropriate flourish.

They seek him here, they seek him there, but they’ll only find the

elusive “Pimpernel” at the Center today and Sunday. For adventure and

nostalgia buffs, it’s an E-ticket ride.

* TOM TITUS reviews local theater for the Daily Pilot. His reviews

appear Thursdays and Saturdays.

FYI

WHAT: “The Scarlet Pimpernel”

WHERE: Orange County Performing Arts Center, 600 Town Center Drive,

Costa Mesa.

WHEN: Closing performances 2 and 8 p.m. today, and 2 and 7:30 p.m.

Sunday

COST: $20-$55

PHONE: (714) 556-2746