Review by Emily Werner.
City Lit Theater’s 45th anniversary season comes to a close with the world premiere of the swashbuckling musical, Scaramouche. Based on the 1921 novel by Rafael Sabatini, the production is written by City Lit artistic associate Kingsley Day (music, lyrics and book) and James Glossman (book). Directed by Beth Wolf, the play is performed by a 10-member cast and three-piece band. Scaramouche is notable for its comedy and vocals, but the original score falls short of being memorable.
Set during the French Revolution, the play features lawyer André-Louis Moreau (Ethan Smith). He begins to see the hypocrisy of the aristocracy in a harsher light after his best friend, Phillippe (Conner Ripperger), is killed by the Marquis de la Tour (Kent Joseph) in a deeply unjust duel. After rallying a crowd with his late friend’s arguments about the mistreatment of the lower class, Moreau is forced to flee from the law. Assuming a series of new identities—including as an actor in a commedia dell’arte troupe, a master swordsman, and eventually a member of the Estates General of 1789—Moreau navigates a world of injustice, political upheaval, romance, and theatrical spectacle.
The creative team plays a vital role in immersing the audience in Scaramouche’s story. Scenic designer Trevor Dotson and costume designer Jennifer Mohr effectively evoke the late 18th century on the cusp of the French Revolution. While the projections by DJ Douglass occasionally feel stylistically out of step with the period setting, the painterly detail woven into the transitions gives the production a distinctive visual charm. Maureen Yasko's fight choreography is unfortunately constrained by the limitations of the intimate venue.. Still, the “Fencing” number stands out as a highlight, and an inventive blend of swordplay and dance choreography by Wolf, Ray Post, and Yasko is genuinely exciting to watch.
Director Wolf (artistic directxor of Midsommer Flight) brings a cast with an impressive range of musical and comedic talent. As the leading man, Smith delivers a charismatic performance anchored by strong tenor vocals. Two standout performers are Shea Lee and Henry Michael Odum, whose sharp comedic timing and commanding stage presence consistently earn some of the loudest laughs of the night. The moments where the entire ensemble sings together highlight the strengths of harmonies and commedia slapstick in the performance. There are also some fun moments breaking the fourth wall with the band, and a cameo by music director Kevin Zhou that are entertaining to watch on stage.
While Scaramouche succeeds with its humor, the original score is the weakest element. Day and Glossman clearly pour ambition into adapting Sabatini’s story for the stage; however, the music rarely deepens the characters or advances the dramatic stakes. Still, two specific songs stood out in performance. The first, “La Commedia,” fully embraces the show’s comedic strengths through the commedia dell’arte troupe. The other number, “An Ordinary Afternoon,” is an emotional duet between Smith and Alicia Bernaeche as Madame de Sautron.
Despite its flaws, City Lit’s world premiere of Scaramouche is an ambitious and entertaining production. Anchored by charismatic performances and lively ensemble work, the musical captures humor, theatrical antics, and revolutionary spirit to keep audiences engaged.
City Lit Theater’s Scaramouche continues until June 14 at Edgewater Presbyterian Church, 1020 W. Bryn Mawr Ave. Running time is 2.5 hours including one intermission. Visit the website for tickets (starting at $45) and more information.
Emily Werner is a theater critic and administrator located in Chicago. She works at Lyric Opera and is a board member of Porchlight Young Professionals at Porchlight Music Theatre. You can find her articles on her website, Werner's Theatre Reviews or follow her on Instagram at @wernerstheatrereviews.
For more information on this and other productions, see theatreinchicago.com.
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