Curtains is Old Fashioned Fun
Paul Cartwright as Lieutenant Frank Cioffi and Debra Stewart as Niki Harris in HCT’s regional premiere of “Curtains”
"CURTAINS," through Nov. 21, Hale Centre Theatre (801-984-9000); running time: 2 hours, 40 minutes (one intermission)
WEST VALLEY CITY — Not very often does a new musical comedy roll down the pike with all the glitz, glamour and charm of the good old-fashioned musicals of yesteryear.
Longtime songwriting duo John Kander and the late Fred Ebb, who also penned "Chicago" and "Cabaret," added a another one-word, starts-with-a-C musical to the arsenal, "Curtains."
The whodunit takes place in a Boston theater in 1959. There is a crime, a detective, colorful characters, sweeping melodies and big dance numbers.
With the show closing on Broadway last year, Hale Centre Theatre presents the regional premiere of the Tony Award-winning musical with plenty of glitz, although the stars don't completely align in the charm category … but they're close.
"Curtains" is filled with brilliant one-liners and wonderful character back-and-forth. On Wednesday night, it felt like the cast needed more time to spend with the characters and story to really flush out all that is there.
Paul Cartwright, single-cast as our hero, detective Frank Cioffi, grew into his trench coat.
With a swagger and confidence of a seasoned performer, he seemed almost too suave to play the detective with a hidden love of musical theater — and someone who is giddy, awe-struck and hesitant with the ladies.
But by Act II, he settled nicely into the character, delighting the crowd with a very charming "Tough Act to Follow."
His romantic partner-in-crime, no pun intended, Cecily Ellis-Bills (double cast with Debra Weed Stewart) was perfectly wide-eyed and innocent with a lovely singing voice. (It's a shame she doesn't have more songs).
Other standouts include Camille Gerber Van Wagoner (double cast with Janae Gibbs Cottam), whose delightful sassy producer stole the show.
I was disappointed at some of the cuts the theater made to the role, however, as the character lost a bit of brass and wasn't able to grow as much.
Brandon Cecala (double cast with Quinn Allan Dietlein) delivered some lovely moments and gets to show off his piano-playing prowess as well — a real treat!
Bryan Finch's flamboyant director was also very funny.
Hilary Rose Holland's (double cast with Ashley Kathryn Mayfield) line delivery is very forced, but her dancing certainly isn't. I'd like to see her bring that same natural feel to her speaking.
In the glitz category, Hale shows off its stage.
The crowd applauded, but I found myself zapped out of 1959 to 2009, thinking, "Oh, they've reworked their carousel from 'Scarlet Pimpernel.' "
Lovely, yes. Necessary in an already charming number? No.
Being a gal who enjoys the romance, I was disappointed to see the final kiss of the show staged on one of Hale's high platforms. It makes it so much harder to see, and we're cheated the romantic payoff.
The one problem that was difficult to overlook Wednesday, especially in a theater of Hale's caliber, was the many late microphone cues.
Kelly Dehaan's music direction is very nice, and Kacey Udy (who also acts in the show) designed a set able to handle the tricky nature of the piece.
Tamara Clayton had numerous lovely costumes, and though I'd be happy to never see a dancer on top of a tiny cabaret table again, Marilyn May Montgomery's choreography was fun.
I'm confident that most of the tiny setbacks will settle in as the run progresses, and cast members certainly seem to have a wonderful time paying homage to the very people they are, show people.
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