54 Sings Curtains

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

Reviewed by Marilyn Lester for Cabaret Scenes

Curtains opened on Broadway in March 2007 to mixed reviews. Likewise, this abridged version of the show was a mixed bag.
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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.
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Yet, despite being difficult to follow, the laughs provided by bookwriter Rupert Holmes (pictured)—based on the late Peter Stone’s work—kept coming.

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

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).
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