It’s the brassy, bright, and promising year of 1959. Boston’s Colonial Theatre is host to the opening night performance of a new musical. When the leading lady mysteriously dies on stage the entire cast & crew are suspects. Enter a local detective, who just happens to be a musical theatre fan!
Act I: It’s the brassy, bright and promising year of 1959. Boston’s Colonial Theatre is host to the opening night performance of Robbin’ Hood!, “a new musical of the Old West”. The curtains rise on the show’s merciful finale. Act Two. Scene 23. As the valiant cast proclaims their undying affection for the Wide Open Spaces of Kansas, a sour note is sounded by the voice of faded film star Jessica Cranshaw, who can’t act, can’t sing, and can’t dance — not even a little. Jessica’s name may be above the title, but her performance has been beneath contempt, both on-stage and off. She takes her mandatory bow in front of the cowboy-costumed company, gathers up her obligatory bouquets from a pair of tuxedoed ushers, and collapses in a heap, easily the most graceful move she’s made all evening. The cast rushes to their fallen star behind the fallen curtain and bear the unbearable Jessica off to Boston Hospital. A few hours later, on the now darkened Colonial stage, four tormented souls in evening dress search the night owl editions of the Boston morning papers for a single charitable review. The show’s composer, Aaron Fox and lyricist Georgia Hendricks — recently divorced but professionally reunited in an attempt to create musical magic where their marriage has otherwise gone flat — find nary a quote to pull. Equally empty-handed is the show’s lone financial backer Oscar Shapiro, garment district maven but theatre district novitiate. Slightly less daunted is Carmen Bernstein, co-producer (with her husband Sidney) of Robbin’ Hood! The four speculate about “What Kind of Man”, woman, or beast would ever choose to be a critic. They are joined by feverishly fey director, Christopher Belling, who announces he’s just given birth to a brainchild the producers must instantly adopt. To demonstrate his plan, he asks Georgia to sing Jessica Cranshaw’s first ballad in the show. It’s no secret to the company that Georgia has recently rekindled a past romance with leading man Bobby Pepper. Though her ex-husband may be accompanying her at the piano, Georgia is clearly thinking of Bobby as she sings “Thinking of Him”. Director Belling reveals his masterful plan: as long as Jessica Cranshaw is indisposed, her part should be filled by Georgia, a former stage performer who obviously knows the show inside and out because she is its co-creator. All approve, except ex-husband Aaron, who points out that the issue is academic if Jessica Cranshaw returns to work. But the fateful news arrives: “The Woman’s Dead”. An impromptu funeral ceremony in Jessica’s honor is interrupted by the arrival of Homicide Lieutenant Frank Cioffi, who saw Robbin’ Hood! in previews and thinks that, with the exception of the late Miss Cranshaw, the cast are all spectacular performers in one heck of a show. The Lieutenant has done some amateur theatrical work himself, and he is as shocked as Carmen Bernstein to learn that the cast does not feel the show must go on. He and Carmen must remind the company that they are part of a special breed known as “Show People”. With their faith in themselves and Robbin’ Hood! renewed, the cast prepares to leave for the night when Cioffi explains that they can’t. Since an autopsy has revealed that Jessica Cranshaw swallowed poison pellets in the last minutes of the show, during which time she never left the stage, it’s clear she was murdered by a member of the company. Cioffi feels the surest way to solve the crime will be to keep the entire cast of suspicious characters sequestered in the theatre. Sidney Bernstein, the show’s senior producing partner (and Carmen’s philandering lesser half) arrives from New York — or at least that’s where he claims to have been at the time of the murder. Cioffi is left alone with local neophyte actress Niki Harris, who understudied Jessica Cranshaw but is now covering for Georgia. The police detective is clearly smitten with Niki’s winsome charm and confides in her about his investigation. They learn that they are both married … to their respective careers, which in Cioffi’s case has resulted in a life of lunch counter mornings and “Coffee Shop Nights”. The next day, as Georgia struggles to regain her show biz sea legs, Carmen and Sidney Bernstein invite Boston Globe senior drama critic Daryl Grady to pay them a visit, much to his bewilderment, since his review of the show found precious little to praise. The producers ask Grady to re-review their musical with its new lead, but the best he can offer is to appraise the next evening’s re-opening. With Grady’s challenge accepted, Chris Belling prepares to restage a particularly troublesome number, entitled “In the Same Boat”. Cioffi is startled to hear himself suggest that the problem might lie in the song itself, and the director is surprised to hear himself agree. Composer Aaron Fox is urged to concoct a different number for the same slot in the show, minus the assistance of his ex-wife who, owing to her frantic rehearsal schedule, has now become his ex-writing partner as well. In private with Lieutenant Cioffi, the composer makes a most unexpected confession. (“I Miss the Music”) Any doubt that Georgia could hold the stage is happily dispelled by the dress rehearsal of the big saloon hall number “Thataway!” But as the Act One curtain descends, murder rises to the occasion, and a key member of the company is forced to face The Big Blackout. Act II: The second act begins with the updated medical status of the most recent victim: “The Man is Dead”. Curtains rise upon a makeshift dormitory on the Colonial’s stage, as things go bump in the night and the company, in varying stages of dress and undress, point fingers of suspicion at each other, puzzling over whether She or “He Did It”. Cioffi arrives with a grim report from the coroner and even graver concerns about the show’s rapidly-approaching deadline. Aaron previews his best effort at “In the Same Boat #2” but the zealous Cioffi sends it back to the drawing board once again, while urging that star Bobby Pepper be added to the Fort Henderson square dance. This prompts Bambi, an aspiring chorine and also Carmen’s daughter, to plead for a pas de deux (“for two”) for herself and Bobby, as a spotlight moment in the number. Carmen reluctantly gives Bambi her chance, although she reminds her that a hard-nosed producer watches the box office, not the stage, and in commercial theatre, the bottom line is: “It’s a Business”. Much to Carmen’s surprise, Bambi shines in the rehearsal of the restaged Kansasland. But even as Bambi gets her big shot, Bobby Pepper gets his, from a gun offstage. Or was someone else the target? Cioffi’s craft as a detective takes center stage as he traces the bullet’s torturous path. He is also able to solve the mystery of why Aaron Fox and Georgia Hendricks were so anxious to work on Robbin’ Hood! as the former husband and wife team discover ample reason to renew their vows. (“Thinking of Him/I Miss the Music Reprise”). With the spotlight suddenly on romance, Cioffi’s magnifying glass focuses on the ingénue who’s too-good-to-be-true. In his wildest dreams, instead of tracking footprints, he’d be trading steps with Niki up a theatrical stairway, making moves that even Fred and Ginger would find “A Tough Act to Follow”. But in the realm of homicide, the blink of an eye can turn daydream into nightmare, as Cioffi realizes that Niki is carrying a secret, one she has shared with stage manager Johnny Harmon. Johnny’s lips remain sealed — and the killer hopes to keep them that way forever. Cioffi’s investigation takes him high above the stage and, hearing the chorus below as they rehearse “In the Same Boat #3”, he hits upon a solution to some (if not all) the production’s problems, in a melodic amalgam that finally sees “In the Same Boat Completed”. With that immense puzzle solved to the company’s satisfaction, Cioffi has merely to piece together the clues he’s gathered, correctly unmask the killer, save the life of the murderer’s next intended victim, render the fiend harmless, make sense of a troubling but telltale observation, and find a new finale for the show. In doing so, Carmen Bernstein gives Cioffi the highest praise he could ever hope to receive: he is truly one of those “Show People” who understands why the show must go on. The revamped “Wide Open Spaces Finale” may be “A Tough Act to Follow (reprise)”, but for Lieutenant Frank Cioffi, the curtain is just about to rise on the greatest joy of his life.
CURTAINS Book by RUPERT HOLMES Music by JOHN KANDER Lyrics by FRED EBB Original Book and Concept by PETER STONE Additional Lyrics by JOHN KANDER and RUPERT HOLMES
Originally Produced on Broadway by Roger Berlind, Roger Horchow, Daryl Roth, Jane Bergère, Ted Hartley and Center Theatre Group. American Premiere Produced at The Ahmanson Theatre by Center Theatre Group, LA’s Theatre Company.
LIEUTENANT FRANK CIOFFI (30’s – 40’s): Sweetly endearing local Boston detective who idolizes the world of musical theatre and has reveled in the thrill of performing in community theatre. Called upon to solve the murder of the star of “Robbin’ Hood” (a musical intended for Broadway that is currently out of town in Boston), Cioffi is very good at his job and, lamentably, married to his work. He is instantly smitten with ingénue Niki Harris. The undisputed central character of the musical. Requires deft and charming comedy, good singing, solid dancing in one extended “Fred and Ginger” number.
NIKI HARRIS (20’s-early 30’s) Pretty, almost too innocent ingénue, a local performer in a small role hoping “Robbin’ Hood” will be the Boston production that at last takes her to Broadway. Love interest for Lieutenant Cioffi, apparently reciprocated. Requires a legit soprano and strong dancing in an extended “Fred and Ginger” number.
GEORGIA HENDRICKS (30’s – mid-40’s, similar age to AARON) Female half of our show-within-a-show’s songwriting team on the lyric-writing side. Ends up taking on the leading lady role. Must sing and dance extremely well.
CARMEN BERNSTEIN (45-65) Brash and brassy Broadway producer. Terrific comedic actress with a belt.
AARON FOX (30’s – 40’s, similar age to GEORGIA) The composer of the show-within-the-show. His songwriting partner, Georgia, is also his wife, from whom he’s separated but for whom he still pines. He’s a handsome, intense, somewhat tortured artist-type. Requires a strong vocalist with comedy.
SIDNEY BERNSTEIN (Late 50’s-Mid 60’s): The always-angry, sleazy, philandering producer of the out-of-town flop. Sidney is rough around the edges and completely self-serving. Requires a cartoon-like character actor who is funny on arrival. No singing required.
CHRISTOPHER BELLING (40-60) English director. Very camp. Very droll. Noel Coward meets Addison DeWitt meets Clifton Webb. Requires a superb comic actor.
BAMBI “BERNÉT” (Early 20’s-early 30’s) Performer in the chorus, daughter of Carmen, step-daughter of Sidney. Genuinely brassy and artificially blonde. Hungry to work her way out of the chorus; many think she was only hired because of her mother. She surprises everyone, however, when she shows genuine dancing and singing talent when at last called upon. Requires great dancing, strong “street-smart dumb blonde” comedy, and singing.
OSCAR SHAPIRO (45-65): from the garment district and sole investor in “Robbin’ Hood.” A likeably gruff man who knows nothing about theatre and frets over every dime of his that’s spent. Requires good “rough around the edges” comedy and singing.
BOBBY PEPPER (30’s to early 40’s, similar age as Georgia and Aaron) The Gene Kelly of “Robbin’ Hood,” its choreographer and male star, and a handsome rival to Aaron for Georgia’s affection. Requires strong dancing, singing, comedy.
DARYL GRADY (30’s-40’s): Caustic and smug theatre critic for the local Boston newspaper. Patronizingly pompous, enjoys using his power to make or break shows during their Boston tryouts. Does not require strong singing or dancing.
JOHNNY HARMON * (30’s-60’s) Stage Manager of the show-within-the-show, and both drill sergeant and mother hen to the cast. Barks orders but has a pleasant side as well, he keeps the company in line and on their toes throughout the rehearsal process. Comic actor who can sing.
JESSICA CRANSHAW (40’s-60’s) Faded Hollywood star, a grand diva with no right to be one, and a plague to the show-with-the-show and to her cast. An absolutely dreadful singer and inept actress who stars in the show-within-a-show and gets murdered on its opening night in Boston. Must be skillful enough to sing hilariously out-of-tune and ineptly, and adroit enough to dance perfectly out of step with the rest of the cast. Appears only in the first minutes of the musical; on Broadway, this performer then adopted a different look and became part of the ensemble.
RANDY DEXTER (20’s – 30’s) a member of the singing & dancing ensemble featured in “Kansasland,” pleasant but with a sensitive side.
HARV FREMONT (20’s – 30’s) a member of the singing & dancing ensemble who bears a bouquet. ROBERTA WOOSTER (20’s – 30’s) a member of the singing & dancing ensemble who speaks from experience.
ENSEMBLE *Note: the role of JOHNNY HARMON can be played by a woman using the name JENNY HARMON, with all the same character traits as described. It is not recommended that any other roles described above be played by the opposite gender, as it would be contrary to the dynamics of the mystery, the comedy, and the period.
Piano/Conductor Score (Rehearsal ONLY)
Woodwind 1 (Flute, Piccolo, Alto Saxophone, Clarinet)
Woodwind 2 (Oboe, English Horn, Tenor Saxophone, Clarinet)
Woodwind 3 (Clarinet, Soprano Saxophone, Alto Saxophone)
Woodwind 4 (Flute, Baritone Saxophone, Bassoon, Clarinet)
Trumpet 1 (Trumpet, Flugelhorn)
Trumpet 2 (Trumpet, Flugelhorn)
Trombone 2 (Trombone, Tuba)
Guitar (Electric, Banjo, Rhythm Steel, Arch Top, Nylon Acoustic, Steel Acoustic)
- 2 Timpani
- Fire Bell
- Large Triangle
- Bell Tree
- Finger Cymbals
- Fight Bell
- Small Gong
- Sleigh Bells
- Stamping Rod
- Mark Tree
Costumes for Rent or Sale
Syracuse Talent Company Christine Lightcap 315-637-3733 firstname.lastname@example.org Broadway Costumes 1100 West Cermak Road · Second Floor Chicago · Illinois · 60608 · USA 800-397-3316 www.broadwaycostumes.com/shows/curtains.htm
CURTAINS - Prop List
CURTAINS PROPS LIST Feather Boa (p 2) 2 Bouquets of flowers (p 4) 4 Newspapers (p 6) 3 letters (“You’re murdering the score but I’ll murder you,” “You’ll drop before the curtain does,” and “If you don’t quit, you’ll die legit.”) (cut with letters/words from a magazine) (p 25) Briefcase (p 33) Sheet music (p 42) *Opulent Western Gambling Saloon—cards, Chips, glasses, beer (p 44) Rope (p 50) *Dummy of Bernstein (p 51) Little Black Book (p 57) Script of Robbin’ Hood (p 57) Gunpowder barrels (p 69) Gun (p 72) First Aid Kit (p 73) Water Cooler (p 73) Standing mike (p 84) Fabric on poles (p 84) Large Tabby cat (p 86) Call book (p 86) Sand bag (p 89) Music for “In the Same Boat” (p 91) PA Mike (p 97) Knife (p 101) Cioffi’s gun (p 102) Cioffi’s other gun (p 103) *Optional If you would like to add to this list, e-mail email@example.com
REHEARSAL & PERFORMANCE TRACKS now available!
Show|Ready™ and Stage|Tracks™ provided by ROCS (Right on Cue Services) are now available for CURTAINS. With Show|Ready™, you can virtually send your Musical Director home with each and every member of your cast! Show|Ready allows you to play a customizable rehearsal track of your show, complete with individual vocal parts and all dance breaks on a Mac, PC, and soon on your iOS device. Your Musical Director simply uploads any edits made at that day’s rehearsal and your cast can access and download the newest version with all of the new changes. This enables your entire cast to rehearse correctly from the beginning, saving you valuable time and effort. With an intuitive interface, Show|Ready gives you complete control over which parts you hear, and lets you modify the key or tempo and cut, vamp, or repeat measures as you please. All shows include the piano, bass, drum, all vocal parts, and click track as well as a sheet music viewer that automatically displays the piano/conductor score and changes the page as you listen and navigate throughout the show. http://www.trwmusicals.com/showlready%E2%84%A2.php Stage|Tracks™ provides quality performance tracks, edited to integrate your individual changes from Show|Ready. With the best sounding tracks at an affordable price, Stage|Tracks will greatly enhance your production if you do not have live musicians to accompany the show. However, you should be advised that while Stage|Tracks provides quality performance tracks of the full orchestration, it is not recommended to be used alongside live musicians. Stage|Tracks is only for performance and is sent approximately 3-4 weeks prior to the opening date of your production. Stage|Tracks is currently only available on an iOS device, with Mac and PC coming soon. Listen to a StageTracks demo from CURTAINS here! http://www.rightoncueservices.com/mp3/curtains_demo.mp3
For pricing information and to order Show|Ready™ or Stage|Tracks™ please call: 646-736-3232 or email: firstname.lastname@example.org
For the Show|Ready™ & Stage|Tracks™ apps, visit the iTunes Store here: https://itunes.apple.com/us/artist/right-on-cue-services-llc/id543773969 **A valid license of Show|Ready™ and Stage|Tracks™ must be purchased first before you can use the mobile apps.**
Frequently Asked Questions for School Productions
A Resource for High School Productions of CURTAINS
In addition to the many suggested alternate lines that are in the script, the following notes from directors of previous high school productions may be useful:
In order to simplify the staging in Scene 2 (eliminating the need to create a “Behind”, you can cut measures 1 – 27 in Song # 2C “Wide Open Spaces Bows” cutting the Jessica and Johnny lines, and start Scene 2 with the Company singing, “Wide Open Spaces…” You have the option to end Scene 2 at “Yow!” skipping Song #2D “Exit Music (Thataway)” and the NIKI, JOHNNY, RANDI and BOBBY lines, transitioning directly into SCENE 3.
The scene with NIKI and CIOFFI is great – and very important, but if you need to cut for time you can cut Song #7 “Coffee Shop Nights.”
Page 34 – “I’m tripping the silk drop!” can be replaced with “I’m opening the upstage curtain!”
Page 35 – If SIDNEY is not small/short, you can replace CARMEN’s line with: “You always thought you were such a big shot. Well you’re not. You’re just big.”
During Song #17 “It’s a Business” set-up Kansasland behind the curtain.
Song #17 “It’s a Business” – You can cut measures 105 – 140 – After “GET THROUGH LENT” cutting to BABMI “But what about the great poets of the stage?”
Song #18A “Kansasland Dance” is quite long – You are welcome to cut some of dance music as needed.
Page 85 – If you do not have a trap, cut “of the trap door” and “from the trap.”
Page 88 – If you have no “flies” – create a small set piece on a 4’ x 8’ wagon or a flat and place it DL or DR for Scene 3. At the bottom of page 89, instead of, “A man-sized sand bag comes swinging on a rope and knocks him off the edge of the catwalk and he falls into the darkness below.” You can simply throw a large pillow covered in burlap and rope to Cioffi and when he catches it, he loses his balance and he and the pillow fall offstage.
Page 91 – Instead of A sandbag falls from above… You can have a ladder fall from offstage…
Page 92 – When Cioffi enters he can be caught up in the ropes connected to the “sandbag” (pillow covered in burlap).
Song #24 “In the Same Boat – Complete” – To save a little time (as well as some rehearsal time), you can cut measures 76 – 91 going from the group singing “AFT” to CIOFFI’s line, “Now the pals go rollin’…”
The following would be cut:
CIOFFI It’s the high stepping riverboat men from the shore to the rescue! GEORGIA, NIKI, BAMBI, HARV, BOBBY, RANDY, MERMAIDS & RIVERBOAT MEN
THE WAVES ARE LAPPIN’ A LOT, THE SHARKS ARE SNAPPIN’ A LOT, THE THUNDER’S CLAPPIN’ A LOT, JUST HEAR IT ROAR! BUT THERE’S NO DOUBT IN THE WORLD WE’LL STAY AFLOAT ‘CAUSE IT’S EASY TO WIN TAKE IT ALL ON THE CHIN WHEN YOU’RE IN THE SAME BOAT.
THE GUN – Page 72
A few schools had to creatively handle the issue of the gun. Here are a few suggestions:
The gun is usually an offstage sound effect. The only time we actually see the gun is on page 72, when NIKI enters holding the gun above her head. Any prop gun (even with the red plastic tip) would suffice to tell the story. But a few school groups had to use a more obvious “prop” gun (a colored plastic gun, a painted water pistol, a gun carved out of wood…). But before going that far, consider NIKI holding an invisible gun (for the audience to imagine). Although it may receive a giggle from the audience – and the audience’s willing suspension of disbelief will be pushed to the limit, it does not hurt the overall enjoyment of the story. Most people will think that NIKI forgot the gun prop and covered beautifully, not knowing that it was never there.
Feel free to contact Jim Hoare, email@example.com, if you have any questions or additional suggestions.
Keyboard Patch Pro
Today’s Broadway orchestrators rely heavily on keyboard patches with specific instrument combinations, sound effects, tuning, etc. This vital new product from TRW is the fast, easy and affordable solution to recreating these sounds in your pit and saving your Music Director hours of valuable time programming each keyboard part. TRW’s Keyboard Patch Pro works exclusively with Apple’s MainStage–the preferred program of Broadway pit musicians. Ordering is easy. For one flat price, this new ShowGo production enhancement tool will take your orchestra’s sound into the sonic stratosphere.
Includes: Keyboard I/Piano-Conductor Keyboard II