{"id":11272,"date":"2020-01-07T17:10:37","date_gmt":"2020-01-07T17:10:37","guid":{"rendered":"https:\/\/laughfrodisiac.com\/?p=11272"},"modified":"2021-11-09T22:02:51","modified_gmt":"2021-11-09T22:02:51","slug":"curtains-the-musical-whodunnit-is-a-bloated-but-fun-romp","status":"publish","type":"post","link":"https:\/\/laughfrodisiac.com\/2020\/01\/07\/curtains-the-musical-whodunnit-is-a-bloated-but-fun-romp\/","title":{"rendered":"Curtains the Musical Whodunnit is a Bloated But Fun Romp"},"content":{"rendered":"\n

Today\u2019s theatre review is Curtains, currently playing at London\u2019s Wyndham\u2019s Theatre until January 11<\/em>.<\/p>\n\n\n

Let\u2019s address the elephant in the room first. I love David Hyde Pierce (who doesn\u2019t?), but I am still a bit of a salty salty dog over his semi-surprise Tony Award win over Raul Esparza (in Company<\/em>) in 2007. DHP won for the then-new musical comedy-murder mystery Curtains<\/em>, which I enjoyed on Broadway due to clever story-telling and pitch perfect casting, which, okay fine, included DHP\u2019s flawless performance as one of the most inventive new musical theatre characters in recent memory. Now that the sting of Raul\u2019s loss is somewhat faded, I was eager to see Curtains<\/em> again without the resentment my younger self harbored over a nonsense award. Currently in the West End for just a few days more, and starring English comedian Jason Manford, I can newly appreciate Curtains<\/em> as a fun romp of a show that despite its flaws guarantees a good time.<\/p>\n

Curtains<\/em> features a score by Kander & Ebb \u2013 I know \u2013 so right off the bat you\u2019re like \u2018oh this is for real.\u2019 Though it doesn\u2019t boast any future classics, the score is serviceable and fine, with some really good parts. I find the book, by Rupert Holmes, more impressive and funny. It helps that the story this musical tells is so clever: It\u2019s opening night of a musical\u2019s pre-Broadway premiere in Boston (I was just at one of those<\/strong><\/em><\/span><\/a>!), and the horrendously untalented leading lady is murdered during final bows! Egads! Lt. Frank Cioffi of the Boston PD is on the case, investigating cast and crew as they\u2019re on lockdown in the theatre, which is too perfect for him since he is\u2026an enormous musical theatre fan and amateur performer. I just love that SO MUCH. What a fantastic character! (I said that in Fred Armisen\u2019s Mr Birch voice from Big Mouth<\/em>, if you couldn\u2019t tell but you could.) More murders happen and more twists and unexpected turns, but through it all the most important thing isn\u2019t that people keep dying \u2013 it\u2019s that a musical is being made, people! No okay the lackadaisical attitude most of the characters have to multiple murders<\/em> is kind of weird, but I do understand valuing good theatre above all else so can you really blame them. (Ok no it is kind of weird.)<\/p>\n

Though comparisons to a master like DHP are unavoidable and no good for anyone, Manford is very capable and fun and his Cioffi is an amiable goof who can\u2019t help but comment on the show \u2013 and actually help improve it \u2013 instead of focusing on his investigation. His departures from his intended role and inability to control his enthusiasm for musical theatre is a MOOD, as the yoots say, and I love it, obviously. As writer-turned-unwitting-star of the show-within-a-show (called Robbin\u2019 Hood of the Old West<\/em>\u2026it seems\u2026terrible), Georgia is played by Carley Stenson, best known by most of the UK from the classic TV show Hollyoaks<\/em> but a veritable West End star on her own merit. Her voice is wonderful, and her performance in general, although I could deal without all the Robbin\u2019 Hood<\/em> choreo trying to make her overly sexy. Other performers who stood out included Emma Caffrey as Bambi, the allegedly ditzy dancer, and the too hilarious Samuel Holmes as the bitchy director.<\/p>\n

This show could benefit from about 20 minutes of fat trimmed off; it would make it a much snappier show that vibes better with its intended tone. In fact, I\u2019m pretty sure it was at most 2 \u00bd hours on Broadway, but the moments of too-slow pacing in London have extended it to almost 3 hours! That\u2019s nuts! And it\u2019s too bad that the score highlights the show-within-a-show numbers more than the ones that tell the story, like the repeated \u201cIn the Same Boat\u201d bits and the entire Robbin\u2019 Hood <\/em>saloon\/brothel-y number \u201cThataway!\u201d, which felt like it was 15 minutes. Even with the important events at the end of that number, it should be at least half as short. Same with the Singin\u2019 in the Rain<\/em> style \u201cA Tough Act to Follow\u201d, it felt way too long (but maybe because the love story between Cioffi and Niki, one of the actresses, is too hard to buy). But there are some great songs that are performed very well, like the best of the score \u201cShow People\u201d.<\/p>\n

So even with some slow moments, and too much focus on Robbin\u2019 Hood<\/em>, and despite how godawful I\u2019m sure Robbin\u2019 Hood<\/em> is, Curtains<\/em> is a fun and funny whodunit that succeeds despite some flaws. What struck me most is how perfect this show is for high school and college, since there are SO MANY great parts, all of which get a chance to really show off. And there\u2019s so much humor and good will that it\u2019s always pretty enjoyable.<\/p>\n

<\/p>\n

INFORMATION<\/u><\/strong><\/p>\n

Curtains<\/em> ends its run at the Wyndham\u2019s Theatre on January 11. This audience was shockingly well behaved!!<\/p>\n

The Wyndham\u2019s toilets situation is a travesty: if you are seated in the stalls, the ladies bathroom is house right\/stage left and only has TWO STALLS. If you sit in Row E or F, as I did, you will be the first there, but otherwise you have to go upstairs to the lobby to have a chance. TWO STALLS.<\/p>\n

<\/p>","protected":false},"excerpt":{"rendered":"

Today\u2019s theatre review is Curtains, currently playing at London\u2019s Wyndham\u2019s Theatre until January 11. Let\u2019s address the elephant in the room first. 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