Review: DIRTY ROTTEN SCOUNDRELS at Austin Playhouse

There’s a delicious art to the con, and in Dirty Rotten Scoundrels, now playing at Austin Playhouse, that art is wrapped in charm, deception, and tap shoes. Based on the 1988 film of the same name, the musical first hit Broadway in 2005, featuring music and lyrics by David Yazbek (The Band’s Visit, Tootsie) and a book by Jeffrey Lane. It earned 11 Tony Award nominations, with Yazbek’s infectious score and the show’s cheeky tone turning it into a favorite for regional theatres nationwide.

Set on the French Riviera, the story follows two rival conmen: the suave and aristocratic Lawrence Jameson, and the brash, low-rent Freddy Benson. Together, they wager who can swindle $50,000 from an unsuspecting young heiress, Christine Colgate. What ensues is a wild ride of lies, disguises, and delightful musical numbers—until a twist ending flips the entire game on its head.

Under the direction of Lara Toner Haddock, Austin Playhouse’s Dirty Rotten Scoundrels beams with energy, wit, and a clear affection for old-school musical comedy. That said, the show is undeniably a product of an earlier era. Some of its humor—a reliance on women as gullible romantics, a few gags at the expense of the mentally ill, and a general playboy bravado—feels like it wandered in from a 1960s Rat Pack lounge act. While a few lines have been lightly updated to reflect modern sensibilities (thankfully without sounding preachy), the themes still show their age. Even so, the final twist—one that places a clever, capable woman squarely on top—redeems the journey and delivers a smart, satisfying wink to today’s audience.

And let’s talk about that cast.

Scott Shipman’s Lawrence is a sophisticated and sleazy shapeshifter who effortlessly glides between accents and personas. He gives the character a layered performance that lets us loathe his manipulative games but also somehow root for him in the end. His rendition of “Ruffhousin; Mit Shüffhausen” had the audience in stitches.

Sarah Fleming Walker’s Christine Colgate is an absolute joy to watch. She brings sweetness, smarts, and vocal brilliance to the role. Her final turn as the woman who bests the boys is not only believable—it’s a celebratory mic drop for the girls in the audience.

Andrew Cannata is simply phenomenal as Freddy Benson. His comedic instincts are razor-sharp, and he brings an irresistible blend of swagger and vulnerability to the role. From his show-stopping rendition of “Great Big Stuff” to his hilarious attempts at conning his way into luxury, Cannata delivers a performance full of mischief, charisma, and impeccable timing. His energy never dips, his vocals are top-notch, and his connection with the audience is magnetic—you find yourself wishing the show were called Freddy Rotten Scoundrel.

The supporting cast shines just as brightly. Huck Huckaby is a delightful surprise as André Thibault, the French gendarme with a flair for romantic entanglements. His comedic instincts are spot-on, and his chemistry with Jennifer Jennings’ Muriel is pure fun. Jennings brings poise, charm, and a sparkling sense of humor to the role, transforming what could be a minor character into someone we genuinely root for. She shines in “What Was a Woman to Do,” but her post-love affair scenes with André are my personal favorite—they’re a riot.

Carolyn O’Brien nearly steals the show as Jolene, the “Oklahoma” heiress, with a voice as big as her drawl. Her powerhouse vocals and fearless physicality leave a lasting impression.

Kudos to the hardworking ensemble—Ella Mia Carter, Bailey Ellis, Nicholas Hunter, Matt Kennedy, Lydia Margitza, Erin Ryan, and Ismael Soto III—who dance, scheme, and quick-change their way through this fast-paced romp. The ensemble’s movement across Austin Playhouse’s modestly sized stage is a feat of choreography, precision, and pure hustle. Credit goes to choreographer Laura A. Walberg for making magic happen in tight quarters and keeping the energy sky-high.

Under Lyn Koenning's expert music direction, the on-stage band doesn’t overwhelm the vocals; instead, it adds a lush touch of Riviera glam that elevates the whole production.

I had never seen this show—and I swear I don’t live under a rock—but I found it hilarious and thoroughly entertaining. I wholeheartedly recommend this production of Dirty Rotten Scoundrels as a testament to the incredible talent in Austin’s theatre community. The laughs land, the songs soar, and the cast moves with such synchronicity that you forget they’re dancing mere inches from each other. It’s playful, polished, and proof that a well-executed con can be a thing of beauty—especially when the final trick is on the boys.

Duration: 2 hours and 25 min, including intermission.

Dirty Rotten Scoundrels

Music and Lyrics by David Yazbeck

Book by Jeffrey Lane

Directed by Lara Toner Haddock

Music Direction by Lyn Koenning

Choreography by Laura A. Walberg

Now playing through May 11th, 2025

Thursday-Saturday at 8pm

Sunday, April 13 & 27, and May 4 & 11 at 2pm

Sunday, April 20 at 5pm

Austin Playhouse

405 W. 22nd St.

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