Cabaret Scenes Theatre Review

Now at the Al Hirschfeld Theater, Curtains, the latest John Kander and Fred Ebb musical, is a play-within-a-play, a 1950's era backstage romp with a mystery edge. Even after seeing it last summer in its first full-production at the Los Angeles Ahmandson Theatre, Curtains remains an enjoyable feast, part corned beef on rye, part cornball. With Scott Ellis's snappy direction and Rubert Holmes' book, much credit goes to the standout cast led by David Hyde Pierce playing the starstruck cop, and Debra Monk as the producer with a hard nose and soft heart. Nor did it hurt to bring back to Broadway the multi-talents of Karen Ziemba and the delicious tenor voice of Jason Danieley.

Curtains is the tale of an unfortunate new musical, Robbin' Hood, in previews at Boston's Colonial Theatre. Robbin' Hood is a turkey with a star (Patty Goble) who does not sparkle. Luckily (for the show), she collapses during the curtain call and soon dies. Will the show close or will it go on to Broadway? That's the first big question.

Okay, the show will go on, but Robbin' Hood's producer, Carmen Bernstein (Debra Monk), who is married to the backer, insists that the new lead be talented Georgia Hendricks (Karen Ziemba). Georgia was once a theatre star but is now one-half of one of the show's songwriting duo. The other half is her estranged husband, Aaron (Jason Danieley). After a little hemming and hawing, she agrees to stop writing lyrics and become the new leading lady.

The second big question is who poisoned the original star. Enter David Hyde Pierce as straight-talking Lt. Cioffi, who soon reveals his lonely personal life in the ballad "Coffee Shop Nights," "It's a perfectly fine life/I'd give it -- two cheers." He also expresses his real passion, musical theatre, and therefore giddily takes on a two-fold job, solving the murder and saving the show. Oh, yes, he falls in love with the show's ingénue, Niki Harris (Jill Paice).

Because someone in the cast is the murderer, Lt. Cioffi orders everyone quarantined inside the theater during the investigation. Meanwhile there are more murders, including Carmen's husband/business partner, Sidney (Ernie Sabella). The cast is dispirited, wishing they could return to New York and pursue other opportunities.

A second romantic plot sees Georgia involved with choreographer, Bobby Pepper, played by limber Noah Racey, while ex-husband/ex-partner Aaron romances dancer, Bambi (Megan Sikora), who demonstrates her acrobatic verve in Kansasland. Secretly, however, Aaron and Georgia, both flicker more than a little of their old flame. In a delicious tenor voice, Jason Danieley delivers the most poignant song in the show, "I Miss the Music."

In the large cast, Pierce is a vital presence, a gratifying song-and-dance man, but hard to beat with his sharp delivery of Rupert Holmes' witty, often corny lines. As he investigates, he flirts with Niki while sharing his ideas for improving Robbin' Hood. Debra Monk shines as a trenchant combination of earth mother and prison matron. Edward Hibbert, who is snappy with his snippy one-liners, plays the show's director, Christopher Belling, with over-the-top hauteur. As Daryl Grady, Boston's leading critic, John Bolton is properly bombastic. One song, "What Kind of Man?" skewers the critics.

The score illustrates the Kander and Ebb magic. Georgia (Ziemba) shows off her dancing/singing prowess in "Thataway!", an energetic saloon spoof with Rob Ashford's ebullient Wild West choreography. Monk delivers "It's a Business" with its droll messages of her love/hate for show business. Jill Paice honed her California performance as Niki Harris, strengthening delicacy with determination. In "A Tough Act to Follow," she and Pierce, in a romantcy Marge and Gower Champion dance moment, seal their mutual attraction.

Anna Louizos designed a versatile theatre stage-within-a-stage that transforms into a saloon set, a prairie, and a grand staircase for glamorous dance steps. David Loud conducts the catchy Kander tunes, and William Ivey Long's costumes are theatrical enough forRobbin' Hood, while keeping the 1959 look.

Curtains does not delve the depths of Kander and Ebb's Chicago or Cabaret, but it scores a solid A for show biz pizzazz.

Elizabeth Ahlfors
Cabaret Scenes
March 27, 2007
www.cabaretscenes.org



	Curtains Al Hirschfeld Theatre New York, NY
Now at the Al Hirschfeld Theater, Curtains, the latest John Kander and Fred Ebb musical, is a play-within-a-play, a 1950's era backstage romp with a mystery edge. Even after seeing it last summer in its first full-production at the Los Angeles Ahmandson Theatre, Curtains remains an enjoyable feast, part corned beef on rye, part cornball. With Scott Ellis's snappy direction and Rubert Holmes' book, much credit goes to the standout cast led by David Hyde Pierce playing the starstruck cop, and Debra Monk as the producer with a hard nose and soft heart. Nor did it hurt to bring back to Broadway the multi-talents of Karen Ziemba and the delicious tenor voice of Jason Danieley. Curtains is the tale of an unfortunate new musical, Robbin' Hood, in previews at Boston's Colonial Theatre. Robbin' Hood is a turkey with a star (Patty Goble) who does not sparkle. Luckily (for the show), she collapses during the curtain call and soon dies. Will the show close or will it go on to Broadway? That's the first big question. Okay, the show will go on, but Robbin' Hood's producer, Carmen Bernstein (Debra Monk), who is married to the backer, insists that the new lead be talented Georgia Hendricks (Karen Ziemba). Georgia was once a theatre star but is now one-half of one of the show's songwriting duo. The other half is her estranged husband, Aaron (Jason Danieley). After a little hemming and hawing, she agrees to stop writing lyrics and become the new leading lady. The second big question is who poisoned the original star. Enter David Hyde Pierce as straight-talking Lt. Cioffi, who soon reveals his lonely personal life in the ballad "Coffee Shop Nights," "It's a perfectly fine life/I'd give it -- two cheers." He also expresses his real passion, musical theatre, and therefore giddily takes on a two-fold job, solving the murder and saving the show. Oh, yes, he falls in love with the show's ingénue, Niki Harris (Jill Paice). Because someone in the cast is the murderer, Lt. Cioffi orders everyone quarantined inside the theater during the investigation. Meanwhile there are more murders, including Carmen's husband/business partner, Sidney (Ernie Sabella). The cast is dispirited, wishing they could return to New York and pursue other opportunities. A second romantic plot sees Georgia involved with choreographer, Bobby Pepper, played by limber Noah Racey, while ex-husband/ex-partner Aaron romances dancer, Bambi (Megan Sikora), who demonstrates her acrobatic verve in Kansasland. Secretly, however, Aaron and Georgia, both flicker more than a little of their old flame. In a delicious tenor voice, Jason Danieley delivers the most poignant song in the show, "I Miss the Music." In the large cast, Pierce is a vital presence, a gratifying song-and-dance man, but hard to beat with his sharp delivery of Rupert Holmes' witty, often corny lines. As he investigates, he flirts with Niki while sharing his ideas for improving Robbin' Hood. Debra Monk shines as a trenchant combination of earth mother and prison matron. Edward Hibbert, who is snappy with his snippy one-liners, plays the show's director, Christopher Belling, with over-the-top hauteur. As Daryl Grady, Boston's leading critic, John Bolton is properly bombastic. One song, "What Kind of Man?" skewers the critics. The score illustrates the Kander and Ebb magic. Georgia (Ziemba) shows off her dancing/singing prowess in "Thataway!", an energetic saloon spoof with Rob Ashford's ebullient Wild West choreography. Monk delivers "It's a Business" with its droll messages of her love/hate for show business. Jill Paice honed her California performance as Niki Harris, strengthening delicacy with determination. In "A Tough Act to Follow," she and Pierce, in a romantcy Marge and Gower Champion dance moment, seal their mutual attraction. Anna Louizos designed a versatile theatre stage-within-a-stage that transforms into a saloon set, a prairie, and a grand staircase for glamorous dance steps. David Loud conducts the catchy Kander tunes, and William Ivey Long's costumes are theatrical enough forRobbin' Hood, while keeping the 1959 look. Curtains does not delve the depths of Kander and Ebb's Chicago or Cabaret, but it scores a solid A for show biz pizzazz. Elizabeth Ahlfors Cabaret Scenes March 27, 2007 www.cabaretscenes.org

Curtains

Al Hirschfeld Theatre New York, NY

Al Hirschfeld Theatre
New York, NY