“CURTAINS” – ALL ROLES AVAILABLE
LIEUTENANT FRANK CIOFFI (Age Negotiable) 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 soprano range 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. Light dancing required for this role.
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. Little to no dancing required for this role.
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 or dancing required.
CHRISTOPHER BELLING (40-60) English director. Very camp. Very droll. Noel Coward meets Addison DeWitt meets Clifton Webb. Requires a superb comic actor. Little singing, light to no dancing.
BAMBI “BERNÉT” (Early 20’s-early 30’s) Performer in the chorus, daughter of Carmen, stepdaughter 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.
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. Non-singing, non-dancing role.
JOHNNY HARMON (30’s-60’s) (the role can be played by a woman) 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.
ENSEMBLE Curtains is a love letter to theatre people, and it especially celebrates its ensemble. There are more than a dozen giant company numbers in this show, and the ensemble is almost never offstage. Every ensemble character is named and almost all of them have lines throughout the show. This is to inform you that this is not a normal ensemble. They are utilized heavily, they sing and dance constantly, and are among the hardest working characters in this show. It will be a lot of hard work, and a lot of fun! There are, however, 4 members of the ensemble that are primarily singers and do not take part in the hardcore dance routines.