CURTAINS – the Musical Comedy Whodunnit

Based on an original book by Peter Stone, this musical is a parody of back-stage murder mystery plots, set in 1959 Boston, Massachusetts and completely new to me. Premiering in Los Angeles in 2006, it opened on Broadway in 2007 but did not reach London till 2012. A tour with Jason Manford in the lead comes to Belfast’s Grand Opera House next November. With music by John Kander and lyrics by Fred Ebb – the writers of the well-known musicals Cabaret and Chicago – I knew from the moment the overture began that this would be a show worth seeing. Under the baton of Gareth McGreevy, his 11 piece orchestra (situated on an upper level at the back of the stage) gave a cracking lead with a lively score, without overwhelming voices on stage.

The set was very plain but adaptable, with 4 well painted proscenium half arches. As the view sometimes came from behind the onstage performers, there were red tabs both front and back and a raised area in front of the orchestra which became the theatre catwalk high above the stage. Making up for a lack of glitz and glamour in the set, Costumes from Theatrical Costume Hire were many coloured and varied and hairstyles and wigs also very good. Props included a well painted and obviously very light upright piano. Sound was efficient and on cue and Lighting (although angles are difficult in this venue) was mostly good.

A large cast of Principals were required for this piece but Director Neil managed to find the right person to fill each role. Emma-Jane McKnight, who played the brassy and hard-bitten producer Carmel Bernstein, belted out her musical numbers – 

eg “It’s a Business”- in true Ethel Merman style. Emma -Jane perfectly captured the larger-than-life character; only showing her softer side at the end when she revealed why she was so hard on her daughter. She had a whole series of wise-cracks – mostly about her husband’s sexual inadequacies! He (Sidney) was played by Kevin McReynolds making a welcome return to the stage, and daughter Bambi Bernet, played by Suzanne Smyth, was an effective featured dancer and leading lady’s understudy who was ambitious but undermined by her mother at every opportunity. Suzanne’s talent shone when demonstrating a pas-de-deux devised by Bobby and herself. Matthew Watson was very well cast as Bobby, showing professional dance skills as “Robbin Hood’s” choreographer and male star; and he sang well too. Orla Russell played Niki Harris who, as understudy to the leading lady, expects to take over the role when the star is murdered, but is overlooked. Orla portrayed the beautiful but rather naïve young actress convincingly in acceptance of her disappointment, then effectively flirting with Detective Frank Cioffi who came under her spell! Her shared musical numbers were well executed - sadly her role did not include any solo pieces but her costumes were beautiful!

Changing the sex of the Stage Manager worked really well with Emma Nugent as Jo Harman. She kept a low key, slightly gruff comical persona and delivered an excellent performance. Show Director of “Robbin Hood” Christopher Belling was comedically played by Andrew Hill, without falling into the trap of over-camping his character! He was just camp enough to be funny – his best role to date I think.  Georgia Hendricks (Caitlin McClurg) and Aaron Fox (Sean Harkin) were the song-writing team for the show but also ex -husband and wife. Caitlin was convincing in her estrangement from her husband and attraction to the show’s star Bobby. She fulfilled every aspect of her role in song and dance as ‘Madame Marion’ and when all the pretence was revealed and she re-united with ‘Aaron’ the audience was relieved! Sean was convincing in his continued attachment to his ex-wife although he could have shown a little quieter emotion in “I Miss the Music”. Completing the on-stage production line-up was Jordan Walsh as Oscar Shapiro, the show’s backer. This was a difficult “older man” role for Jordan which he managed reasonably well – perhaps a little too “old Jew” stereotype. The villain of the piece was Andrew Devonshire as Daryl Grady, a theatre critic for the local Boston newspaper, who enjoyed his critical power. I did not suspect that he was the murderer until it was revealed! 

Smaller roles and Chorus all added to the energy and vocal quality of this musical – the “He did it” number with individual torches was especially effective.  Some individual members showed great potential for the future.

New to the Glees was Gary McAlorum, bringing a star performance as Lieutenant Frank Cioffi. His entirely credible nervous energy throughout, together with excellent dancing skills and a pleasing singing voice made the role of the detective and would be musical theatre performer, a tour de force.

As I’ve come to expect from the production trio of McCreevy, Bell & Keery, this show was a whirlwind of song, dance and comic energy. As mentioned before, Gareth stepped up to the plate, taking on an unknown musical and leading the vocal and orchestral instruction to a high standard. Timmy achieved miracles of spectacular fast paced dance routines on the small Annesley Hall stage and Neil found a way to direct another different and quirky production, bringing out the best in everyone taking part. Long may they collaborate to bring new and exciting shows to audiences.

 

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