Curtains at Wyndhams

‘There’s just a whole lot of arrestingly good fun to be had here’: CURTAINS – West End

In London theatre, Musicals, Opinion, Reviews, Ticket recommendations by Ian FosterLeave a Comment

Wyndham’s Theatre, London – until 11 January 2020

There’s no denying that theatre loves shows about theatre and on the Charing Cross Road right now, you’ve got a play within a play at the Garrick right next to a musical about a musical at the Wyndham’s. Curtains ups the ante though by throwing in a murder mystery as well for good measure and the result is a something of a good old-fashioned romp, blessed with that rarest of things, a barely-known Kander and Ebb score. Having only received a few drama school productions (I saw it at Arts Ed).

The show dates back to 2006 but had a tricky road to completion as original book writer Peter Stone died before finishing it, Rupert Holmes stepping in to rewrite, and Fred Ebb also passed away a year later, with Kander and Holmes completing the lyrical content. Curtains managed a relatively successful run on Broadway but for whatever reason, it never made the leap across the Atlantic (into the West End at least) until now, as Paul Foster’s touring production steps neatly into a scheduling gap to provide an alternative cup of Christmas cheer.

It really is all rather good fun. The musical within the musical is reliably daft, a Western version of Robbin’ Hood, which is interrupted by the murder of its hapless leading lady during a performance in Boston. The detective that then turns up turns out to be a musical theatre obsessive and is more interested in helping the show secure a Broadway transfer. And as writers, producers, directors, chorus boys and girls and critics all have something to say about whether or not the show will go on, whilst avoiding being offed, there’s a tribute too to the trials and triumphs of the creative process.

Obviously aided by a few months out on the road, Foster has nailed the tone of the show perfectly. There’s a sense of fun that occasionally borders on the silly but for the most part, there’s a real precision that elevates and lands every twist of the screwball comedy. Samuel Holmes and Rebecca Lock are fantastically broad as the sardonic director and brassy producer respectively, both wielding their quips like weapons. And as the estranged writer pair, there’s real sweetness in Andy Coxon and Carley Stenson’s performances, as they each strive for artistic perfection in trying circumstances.

Throw in some great choreography from Alistair David, danced well by all but particularly by an excellent Alan Burkitt, and warm musical direction from Alex Beetschen of a score that teeters on greatness (‘The Woman’s Dead’ is a stone-cold classic, and the progression of ‘In The Same Boat’ throughout the show is gorgeously done) and pitch-perfect casting in its leading man, with Jason Manford in charmingly great form, there’s just a whole lot of arrestingly good fun to be had here.

Running time: 2 hours 45 minutes (with interval)
Photos: Richard Davenport
Curtains is booking at the Wyndham’s Theatre until 11th January, and then heads back out on tour
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Ian Foster
Since 2003, Ian Foster has been writing reviews of plays, sometimes with a critical element, on his blog Ought to Be Clowns, which has been listed as one of the UK's Top Ten Theatre Blogs by Lastminute.com, Vuelio and Superbreak. He averages more than 350+ shows a year. He says: "Call me a reviewer, a critic or a blogger, and you will apparently put someone or other's nose out of joint! So take it or leave it, essentially this is my theatrical diary, recording everything I go to see at the theatre in London and beyond, and venturing a little into the worlds of music and film/TV where theatrical connections can be made."
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Ian Foster on FacebookIan Foster on RssIan Foster on Twitter
Ian Foster
Since 2003, Ian Foster has been writing reviews of plays, sometimes with a critical element, on his blog Ought to Be Clowns, which has been listed as one of the UK's Top Ten Theatre Blogs by Lastminute.com, Vuelio and Superbreak. He averages more than 350+ shows a year. He says: "Call me a reviewer, a critic or a blogger, and you will apparently put someone or other's nose out of joint! So take it or leave it, essentially this is my theatrical diary, recording everything I go to see at the theatre in London and beyond, and venturing a little into the worlds of music and film/TV where theatrical connections can be made."

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