Photo by Robert Emerson
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L-R: Shannon Glazer, Brian Mulvey, Jennifer Mischley, Greg Geer and Richard Canedo
And She Said, "Oh, It's You..."
Most of the early criticism of 'Curtains', when it opened in 2006, centered around the question of whether or not the cast (minus David Hyde Pierce) really understood the genre(s) the show lampoons. As a send-up of potboiler murder mysteries, musicals in general and 'Oklahoma' in particular, 'Curtains' treads on a lot of hallowed ground while still maintaining a certain reverence. Were critics missing a certain knowing wink from the cast, many of whom were too young to understand what they were lampooning? Or, as they claimed, were the numbers too forgettable, not Kander and Ebb's A-list material? Or, maybe it was just that they couldn't get past the fact that the script was penned by the same guy that wrote "The Pina Colada Song." In any case, one glance will tell you that 'Curtains' features a running parody of/homage to 'Oklahoma', a fact that made a return visit to Pawtucket a necessity for More Teeth given our stated feelings towards that venerable chestnut. Add to the mix a number that skewers both Theater critics and their readers and there are more than enough ingredients in 'Curtains' to satisfy even before stepping into the auditorium.
Whatever early critics had to say about the score, there is certainly more than enough good material in 'Curtains', notably the critic-bashing "What Kind of Man?" which follows the appropriately generic sounding opening number: "Wide Open Spaces", which served as a vehicle for bawdy, suggestive choreography and innuendo in the play's original run, is played mostly straight in this production, setting up its 'Oklahoma'-ness and setting the stage for the mysterious death of its leading lady during the opening performance's curtain call. The show, with or without its talentless star, receives a drubbing in the papers, setting the stage for 'Robbin' Hood of the Old West' 's producers and composers to deliver the hilariously accurate "What Kind of Man?" Shannon Glazer, Brian Mulvey, Richard Canedo and Kate Sanna Arthur showcase tight harmonies, crisp choreography (and that elusive knowing wink); the bar is set high at this point and The Players rise to it.
The storyline that follows centers around Boston police detective Frank Cioffi, a dilettante musical theater performer in his own right, who locks down the theater and spends his time wooing actresses, fixing
'Robbin' Hood...' and solving murders. Players stalwart Greg Geer takes on this leading role and succeeds mostly through sheer force of charm. By the second act, Cioffi's routines become somewhat same-y and under-rehearsed, with Geer racing to catch up with the action around him. And, by the time we reach 'Robbin' Hood...' 's own Dream Ballet, "A Tough Act To Follow", not even the gorgeous set and costuming can save this tedious number. A shame, since a little judicious editing from Director Sandy Cerel could have tightened up the only real dragging point in this amusing, entertaining production.
Kate Sanna Arthur owns the stage in both plays. As the composer, Georgia Hendricks, she showcases her powerful voice in "Thinking of Him". As the unwilling new star of 'Robbin Hood...' she brings Act One to a triumphant close with "Thataway!" Numbers like this showcase the power of a very strong ensemble, particularly the always amusing Tim Crepeau, whose comic timing and dance skills are used to maximum effect. Tim Reid's choreography embraces the past of large-scale musicals; in other numbers, such as "What Kind of Man?" and the quietly hilarious "He Did It", he explores the "less is more" credo with pleasing results.
Jennifer Mischley's turn as almost-a-star Nikki Harris is another satisfying element of the production. Her romantic foil for Geer's Cioffi provides her plenty of room to play while still delivering in her role within 'Robbin' Hood' 's chorus. Kevin Killavey's beleaguered Director, Christopher Belling, is a treat: all British pomp and one-liners, easily the crowd pleaser of the performance. Christine Lariviere's Bambi delivers nicely as a bubbly, yet frustrated chorus member who begs to step downstage and shine. Erika Pastel's quirky charm is noticeable without pulling focus and Gabrielle Whitney quietly makes us forget that she was the innocent Laurey in The Players' own production of 'Oklahoma' a few months ago. Eric Barbato has a brief, but amusing turn as sleazy Producer Sid Bernstein. It's a large cast that manages to produce standout moments for just about everyone, but also utilizes the power of numbers when required. Even some of the smaller moments, such as the many musical theater in-jokes concerning the boys in the chorus, are well timed and well-executed.
Compared to previous Players productions, however, some of the technical elements were not as thoroughly realized. Lighting Designer Nate Wheatley has to deal with a lot of numbers in front of a closed curtain and these numbers tend to be washed out and overly bright. Ron Procopio's orchestra is absolutely tight, but anyone on the right side of the audience (the orchestra side) on the night we attended tended to hear nothing but music, especially during the first few numbers. We actually moved after intermission towards the center to see if the sound mix was better in that location. It was, but only slightly so. The Players have the mixed blessing of a large, packed house and a fantastic, loud orchestra. Body mics become an essential evil, but lyrics and lines are too often lost or muddy - a shame, especially in a performance with this many clever songs, such as "The Woman's Dead", "He Did It" and Procopio's own turn to shine as Musical Director, Sasha Iljinsky in Act Two's "The Man is Dead". Actually, it's notable that a large part of The Players' usual production staff is actually in the cast this time around.
Pamela Jackson's costumes are wonderful and the recycled 'Oklahoma' elements are perfect (which goes for the scenery as well, designed by Brian Mulvey who also pulls double duty as the character Oscar Shapiro. Watch for a cartoonishly accurate portrayal of a fly loft - something not seen by many people either on or offstage, but which is used perfectly here). And, we're not sure who gets credit for one of the show's most amusing elements that we cannot talk about without giving away plot points, but we'll call out Joan Cripps and Margaret Pires for Props design in any case. You'll know it when you see it...
The Players seem to be doing a brisk business with this production; the night we attended had a nearly sold out crowd already lined up before the doors opened to race for choice seats. Arrive at least forty minutes early. Sit in the center, if possible (avoid house right), and enjoy the final weekend of this highly entertaining and hilarious homage to musical theater. Sure, there's a murder mystery in there as well, but that's almost beside the point. Enjoy a Pina Colada beforehand, laugh for a moment and realize just how much you have in common with 'Curtains'.
The Pawtucket Community Players presents the Rhode Island premiere of Kander and Ebb's 'Curtains' through April 17 at Jenks Auditorium, Division Street, Pawtucket (opposite McCoy Stadium). Performances are Fridays and Saturdays at 8 p.m., Sundays at 2 p.m. Tickets: $18 adults, $15 students. For tickets call (401) 726-6860 or visit www.thecommunityplayers.org .
