54 Sings Curtains

  • Post author:
  • Reading time:3 mins read

54 Sings Curtains

Feinstein’s/54 Below, NYC, January 25, 2018

Reviewed by Marilyn Lester for Cabaret Scenes

Rupert Holmes
Photo: Maryann Lopinto

Curtains opened on Broadway in March 2007 to mixed reviews. Likewise, this abridged version of the show was a mixed bag.


There was talent galore, and lots of laughs, but with a concentration on music, and less on plot, there was a failure to properly translate what was going on. The framework of Curtains is a musical within a musical, Robbin’ Hood of the Old West, trying out in Boston. The leading lady is murdered and the cast is placed in lockdown, while Lieutenant Frank Cioffi tries to solve what becomes a string of murders.


Yet, despite being difficult to follow, the laughs provided by bookwriter Rupert Holmes (pictured)—based on the late Peter Stone’s work—kept coming.

online pharmacy buy valtrex no prescription

The music of John Kander and Fred Ebb (who died during production, leaving Holmes and Kander to assume some lyricist duties) was showcased beautifully in a full-cast laugh-fest of “The Woman’s Dead,” while “He Did It” and a consolidated version of “In the Same Boat” also delivered the goods. Some original cast reprised their roles, including Karen Ziemba, with a glorious “Thinking of Him” and a madcap “Thataway.

” Noah Racey, Nili Bassman, Megan Sikora, Christopher Spaulding, and Jerome Vivona also reprised their roles.

online pharmacy buy ventolin no prescription

Mary Callanan was sharp as a razor, delivering “It’s a Business,” with delightful turns by Richard Kind with “Coffee Shop Nights” and Jim Walton with “I Miss the Music.” A fun twist was theater writer and critic Michael Reidel playing a theater critic. Who knew he could act, too?  [Editor’s Note: Reidel assumed the role in the 7 PM performance reviewed here; it was portrayed by The New York Times’ reviewer Charles Isherwood in the second performance at 9:30.] Also adding to the fun were Eddie Korbich and Jim Brochu, with Erin Davie, Nicholas Carroll, James Cella, Asher Dubin, John Epperson, J. Austin Eyer, Will Hutcheson, Paula Leggett, Maggie Malaney, Brittany Marcin, Clara Regula, and Libby Rosenfield. The director was Robert W. Schneider and musical director/pianist was Daniel Lincoln with Dan Berkery (drums), Joseph Wallace (bass), and Justin Vance (reeds).

Marilyn Lester

Marilyn Lester left journalism and commercial writing behind nearly two decades ago to write plays. That branch in the road led to screenwriting, script-doctoring, dramaturgy and producing for the stage. Marilyn has also co-authored, as well as edited, books. It seemed the only world of words she hadn’t conquered was criticism, an opportunity that presented itself via Theater Pizzazz. Marilyn has since sought to widen her scope in this form of writing she especially relishes. Marilyn is a member of the Authors Guild, Dramatists Guild, Women in the Arts and Media and The League of Professional Theater Women.