By Galen Simmons

Sophistication and class versus lowbrow simplicity. There are many ways to trick someone out of their money, as long as you remember one rule: give them what they want.

The cast and crew of director Tracey Flye’s 2025 Stratford Festival production of Dirty Rotten Scoundrels did just that, delivering a fast-paced, highly comedic adaptation of the multi-Tony Award winning musical film of the same name for the stage at the Avon Theatre.

For my money, the stage was set impeccably, whether it was for a posh nightclub from some past decade, or a highly appointed, five-star hotel somewhere along the French Riviera. The costumes, too, added to that sense of wealth and mystique, be it Lawrence Jameson’s (Jonathan Goad) carefully tailored tuxedos, or the flowing, iridescent evening gowns worn by Muriel Eubanks (Sara-Jeanne Hosie) and the other women tricked into handing over their cash, gold and jewels during the musical’s opening numbers.

This, I believe, is why the crass humour delivered by the inelegant American conman, Freddy Benson (Liam Tobin), with perfect timing and the physical comedy chops to match hits so hard in this production. The onstage comedic chemistry between Goad and Tobin rivals that of Steve Martin and Michael Caine in the original film and perhaps hits its highest point – at least in my opinion – in the second act beginning with the number, “Ruffhousin’ With Shüffhausen.”

And none of that comedic chemistry would be possible without Shakura Dickson’s Christine Colgate, the object of the protagonists’ desires – be they financial or romantic – who ultimately turns the con on the conmen. What appears to be Colgate’s innocence coupled with her hilarious penchant for clumsiness – delivered adeptly by Dickson without any hint of her underlying machinations – makes for the perfect foil to Jameson and Benson’s competing schemes.

In a musical rife with comedic chemistry, one other onstage duo has stuck in my mind. Derek Kwan’s French police chief and conman sidekick to Jameson, Andre Thibault, and Hosie’s Muriel Eubanks, the would-be benefactor and oblivious stalker to one of Jameson’s alter-egos, unexpectedly find a sexual attraction in one another so animalistic in nature, one can’t help but laugh. In a story focused around lies and deception, the pair finds a love so authentic, it offers a wonderful contrast to the main plot.

I can’t conclude a critique of this production without a nod to the choreography. Throughout the musical, the actors’ use of space, interaction with props and set pieces, and their seamless incorporation of hilarious physical comedy hit every note and every joke without distracting from the story. The musicians, too, should be credited for their commitment and dedication to hitting the right note for the right joke.   

Dirty Rotten Scoundrels runs at the Avon Theatre until Oct. 25.