“The show must go on!” This old theatrical saw certainly applies to Curtains, the appealing chestnut at the Hirschfeld. After the untimely death of legendary lyricist Fred Ebb in 2004, partner in music John Kander continued working on additional lyrics with book author Rupert Holmes. Holmes (The Mystery of Edwin Drood) had taken over the project from Peter Stone (1776) who was the author of the original concept and book before his death in 2003. Over a decade in the works, it’s rather surprising the show is as enjoyable (in a retro way) as it is. This is no doubt due to the fact that (as a lyric from one the songs extols), “We’re a special kind of people known as show people!”

And special they are. Curtains is set in 1959 during the out-of-town tryout (Boston, naturally) of the new musical ‘Robbin’ Hood’. During the curtain call one evening, the untalented leading actress, Jessica Crenshaw (Patty Goble), suddenly drops dead. It is soon discovered she has actually been murdered (hence the title of the show) and the entire cast is suspect. Lt. Frank Cioffi (David Hyde Pierce) is brought in to discover the culprit and promptly quarantines the entire cast in the theater.

What ensues is a kind exaggerated board game (think Clue) with music. Every theatrical archetype is trotted out with his/her own plausible motive. The affected director, the estranged husband and wife songwriting team, the hard as nails producer and of course the unknown ingénue out to become a star. The icing on the cake proves to be Cioffi (Hyde Pierce gives an engaging star-powered performance) who in addition to trying to solve the murder becomes the show doctor for the ailing ‘Robbin’ Hood’ (which is delightfully bad as only pros like Kander, Ebb, Holmes and Stone could pull off).

That the whole enterprise yields no surprises (music and lyrics) or suspense (book) takes nothing away from its old fashioned, crowd pleasing charms. Everyone from director Scott Ellis to the design team Anna Louizos (sets), William Ivey Long (costumes), Peter Kaczorowski (lighting) and especially Rob Ashford (choreography) give 100% razzle-dazzle (paying homage to the Kander & Ebb classic Chicago) to deflect any attention from the show inadequacies.

If the technical team is giving 100%, then the cast of Broadway vets give 110%. All the characters are stereotypes; the actors know this and play the hell out of them anyway. As stated earlier, David Hyde Pierce walks away with the show with his underplaying Boston-accented (excellent) show-biz addicted Lieutenant Cioffi. Debra Monk shines as Carmen Bernstein, the cut-throat (no pun intended) producer and stops the show with her anthem “It’s a Business”. Karen Ziemba as songwriter Georgia Hendricks still has a pair of legs that project into the stratosphere in the major production number “Thataway!” (a witty send-up of Agnes DeMille’s work in Oklahoma). As the bitchy, dipped in acid, English director Christopher Belling, Edward Hibbert has the best lines and knows it. Jason Danieley as Georgia’s estranged husband Aaron knocks his number “I Miss the Music” out of the house. The top-notch ensemble is fleshed out by Noah Lacey, Jill Paice and John Bolton.

The best thing about Curtains is that it seems to know exactly what it is and revels in it. It doesn’t have the vocal pyrotechnics of Les Miserables or the brittle sophistication of Company. It’s a glorification of the people who love to make theater; and we love them for it.

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