A Whodunit with a Side of Jazz Hands
Curtains serves up a theatrical cocktail of murder, comedy, and musical charm, where the suspect list is as long as the chorus line and the detective is more interested in jazz hands than handcuffs. Performed at IONA Performing Arts Centre, Savoyards Musical Comedy Society brings to life the behind-the-scenes chaos of a musical under threat. Set in the swinging '50s, Curtains invites the audience into the backstage world of a floundering musical as its cast and crew deal with a murder mystery—and with each other.
Under the direction of Carolyn Latter, with musical director Jacob Cavanaugh weaving the melodies, and choreography by Ange Schoemaker and Melanie Southall, this production exudes a brassy and bright charm that perfectly captures the spirit of the era in which it is set.
The show opens with the sudden (and frankly, convenient) on-stage death of Jessica Cranshaw, played by Kim Kee, who is excellent as the leading, tuneless diva. And just like that, the curtain rises on the investigation by Lieutenant Frank Cioffi, a Boston detective more focused on resolving the production issues of the musical rather than the murder case at hand.
David Harrison, as Lt. Frank Cioffi, absolutely charms the audience with his goofy enthusiasm and endearing awkwardness. His character is starstruck by the theatre world, and his crush on Niki Harris (Daisy Thwaites) brings a sweetness to the show right from the start. Their on-stage spark is natural and enjoyable, especially during their duet “A Tough Act to Follow.” Cioffi leads the charge as he sleuths their way through the cast and crew, trying to find the murderer before they strike again, while simultaneously rescuing the musical from going down in flames.
Speaking of Niki, Daisy Thwaites shines as the sweet (and a little ditzy) ingénue. She has a face card that seems to have stepped right out of a 1950s musical, and her voice is just as timeless. Thwaites effortlessly captures the delicate essence of Niki, infusing the character with a quirky charm and humour.
Tristan Vanyai steals the spotlight as Christopher Belling (my personal favourite), the flamboyant director who gives new meaning to the phrase "the show must go on." With a blend of sass and wit, he serves up hilarious one-liners like "I will be blocking your investigation" with flair. Vanyai perfectly embodies the exaggerated, haughty nature of a British theatre director, ensuring that his scenes are guaranteed to bring laughter.
Miranda Selwood as Carmen Bernstein is another star of the evening, embodying the no-nonsense producer with finesse. It’s clear she was made for this role, as she expertly blends Carmen’s tough exterior with a deep passion for the world of theatre in the rousing "Show People". With her powerful voice, Selwood proves to be a formidable presence on stage. The male ensemble backs her up with a tight, energetic performance of "It’s a Business." Jay Koloi deserves special mention for truly committing to the over-the-top theatrics that classic musical theatre demands. Their commitment in the group numbers is palpable, and it’s a joy to watch someone so fully immersed in their ensemble track.
Natalie Lennox, portraying Georgia Hendricks, showcases the diverse talents required for this role. She infuses her character with a beautiful tenderness, especially evident in her solo, "Thinking of Him." Her voice is a highlight of the show, crystal-clear and full of emotion. Jordan Ross, portraying Aaron Fox, (Georgia's former romantic partner and current writing partner), delivers an emotionally stirring performance of "I Miss the Music." His soulful tenor voice resonates with emotion, captivating the audience even as he remains behind the piano initially. When Ross finally steps out into a single spotlight to finish the song centre stage, the moment is spine-tingling. His solo stands as one of the emotional highlights of the show.
Bec Swain, as the energetic Bambi Bernet, dazzles with her dance number in “Kansasland.” Not only is her dancing divine, but it's her captivating face that truly grabbed my attention. Swain knows how to own the stage, making sure she’s always radiating confidence, even when the focus isn’t directly on her.
Other notable performances include Kyle Fenwick as Johnny Harmon, the overworked and overlooked stage manager. His exasperation with the chaos around him is both funny and familiar to anyone who’s worked in theatre. And then there's Sam Hocking as Bobby Pepper, who is the epitome of a Broadway performer, bringing incredible energy, resilience, and even acrobatics to the role.
Curtains isn’t just about the main characters, though. The ensemble is packed with strong personalities who add layers of humour and intrigue. During number “The Woman’s Dead,” their blasé reaction to their leading lady’s murder becomes an acting exercise as they pretend to care. Every ensemble member makes distinct character choices, and watching each of their facial expressions during group moments is a hoot.
The show’s choreography pays homage to the golden age of Broadway, with big skirts, jazz hands and kickline moments we all know and love. However, some numbers like "Thataway" fall short of that Broadway dazzle, with the energy dipping slightly when it’s needed most. But to be fair, it’s a physically demanding routine with Charleston moves that would wear out even the most seasoned performers.
Vocally, the cast shines across the board. The ensemble harmonies are rich, and the solo performances are deeply moving. The vocal harmonies in the paranoid group number “He Did It” or the impressive “In the Same Boat Completed” are pitch-perfect. Music Director Jacob Cavanough ensures the precise execution of every ensemble number. The orchestra deserves massive applause for their beautiful accompaniment, especially during the reprise of “Thinking of Him/I Miss the Music,” which featured a superbly lush and romantic tone.
The costumes and wigs have been intricately designed to encapsulate the spirit of the era and enhance the timeless quality of the performance. In the final act "A Tough Act to Follow," the cast presents a mesmerising performance in exquisite pink gowns and dapper tailcoats. The choreography is beautiful, and the vocals even better.
By the time the big reveal comes, it’s clear the audience is as clueless as the characters, thanks to misleading clues and a script that keeps everyone guessing. The audience is visibly engaged, reacting with laughter, gasps, and whispered "oooohs" at the dramatic moments. At one point, Harrison delivers a gem of a line, “Forget about the murders, I want to run this number!” summing up the wonderful absurdity of the show.
Curtains is more than just your average murder mystery; it’s a celebration of the chaos, drama, and joy of showbiz! With stellar performances across the board, the cast brings this Kander and Ebb musical to life with humour, heart, and a whole lot of razzle-dazzle.
The show-within-a-show structure and its backstage antics will feel familiar to fans of SMASH, where the trials of staging a Broadway show are front and centre, but with a refreshing twist of a murder mystery. Like any great musical, it’s the moments of human connection—through song, dance, and laughter—that keep the audience hooked. Savoyards really hit the jackpot with this one, proving once again that musical theatre, much like solving a mystery, is never easy, but always worth the thrill.
Now playing until 5th October 2024.
*Apologies for any incorrect pronouns used in this review, as they were not specified in the program. I am more than happy to make any corrections if needed—please feel free to point them out to me. Thank you for your understanding!
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