Curtains (musical)

Curtains is a musical with a book by Rupert Holmes, lyrics by Fred Ebb, and music by John Kander, with additional lyrics by Kander and Holmes.

Based on the original book and concept by Peter Stone, the musical is a send-up of backstage murder mystery plots, set in 1959 Boston, Massachusetts and follows the fallout when the supremely untalented star of Robbin' Hood of the Old West is murdered during her opening night curtain call. It is up to Lt. Frank Cioffi, a police detective who moonlights as a musical theater fan to save the show, solve the case, and maybe even find love before the show reopens, without getting killed himself. The show opened on Broadway to mixed reviews, though several critics praised the libretto and the character of Lieutenant Cioffi, who famed critic Ben Brantley called "the best damn musical theatre character since Mama Rose in 'Gypsy', and the best role of David Hyde Pierce's career."

Production History

Stone died in April 2003, leaving the book unfinished, and Holmes was hired to rewrite it. Ebb also died before the musical was completed. Curtains had its world premiere on July 25, 2006 at the Ahmanson Theatre in Los Angeles. Local reviews were mixed but not discouraging, and the producers decided to transfer the show to Broadway with minor alterations.

Curtain (disambiguation)

Curtain is a piece of cloth intended to block or obscure light. During the ancient period, cavemen used animal skins as curtains and covered the entrance of the caves. Today, curtains are made up of cotton, silk, velvet and other form of fabrics.

Curtain or curtains may also refer to:

Materials

People & politics

Music & media

Curtains (John Frusciante album)

Curtains is the ninth solo album by John Frusciante, released on February 1, 2005 on Record Collection. The album is primarily an acoustic album, in contrast to his previous collaboration with Josh Klinghoffer, A Sphere in the Heart of Silence, which was mostly electronic. According to Frusciante, the album was recorded in his living room: "It was just me sitting on a pillow, on my living room floor, with my back leaning against the couch."

The album features contributions from Autolux drummer Carla Azar, upright bassist Ken Wild, and The Mars Volta guitarist Omar Rodríguez-López, with Frusciante noting, "Carla from the band Autolux plays drums. I loved having a feminine energy. My friend Omar Rodriguez-Lopez of the Mars Volta played some guitar. He and I do these solos together where we're using the same amp at the same time."

A video was released for "The Past Recedes".

The vinyl edition of the record saw a repressing from Record Collection on December 11, 2012. These reissued records are 180 gram and come with a download of choice between MP3 and WAV formats of the album.

Curtained hair

Curtained hair is the term given to the hairstyle featuring a long fringe divided in either a middle parting or a side parting, with short (or shaved) sides and back. The term, when used, generally applies to males, although an alternative name, the undercut, is used for both male and female haircuts following this style. Variations on this haircut have been popular in Europe and North America throughout the 20th century and in the 21st century.

Origins

A shorter version of the haircut, parted in the middle and kept in place with pomade became popular during the Edwardian era as a more practical alternative to the longer hair and sideburns fashionable from the 1840s to 1890s. This was due in part to the popularity of sporting activities like rugby football among younger men.

From the turn of the century until the 1920s, a longer variant of the undercut was popular among young working class men, especially members of street gangs. In interwar Glasgow, Neds, the precursors to the Teddy Boys, favoured a haircut that was long on top and cropped at the back and sides. Despite the fire risk, lots of paraffin wax was used to keep the hair in place. Other gangs who favored this haircut were the Scuttlers of Manchester, and the Peaky Blinders of Birmingham, because longer hair put the wearer at a disadvantage in a street fight.

Musical film

The musical film is a film genre in which songs sung by the characters are interwoven into the narrative, sometimes accompanied by dancing.

The songs usually advance the plot or develop the film's characters, though in some cases they serve merely as breaks in the storyline, often as elaborate "production numbers".

The musical film was a natural development of the stage musical after the emergence of sound film technology. Typically, the biggest difference between film and stage musicals is the use of lavish background scenery and locations that would be impractical in a theater. Musical films characteristically contain elements reminiscent of theater; performers often treat their song and dance numbers as if there is a live audience watching. In a sense, the viewer becomes the diegetic audience, as the performer looks directly into the camera and performs to it.

Musical films in the Western world

The classical sound era

The 1930s through the early 1950s are considered to be the golden age of the musical film, when the genre's popularity was at its highest in the Western world.

Musical theatre

Musical theatre is a form of theatrical performance that combines songs, spoken dialogue, acting, and dance. The story and emotional content of a musical – humor, pathos, love, anger – are communicated through the words, music, movement and technical aspects of the entertainment as an integrated whole. Although musical theatre overlaps with other theatrical forms like opera and dance, it may be distinguished by the equal importance given to the music as compared with the dialogue, movement and other elements. Since the early 20th century, musical theatre stage works have generally been called, simply, musicals.

Although music has been a part of dramatic presentations since ancient times, modern Western musical theatre emerged during the 19th century, with many structural elements established by the works of Gilbert and Sullivan in Britain and those of Harrigan and Hart in America. These were followed by the numerous Edwardian musical comedies and the musical theatre works of American creators like George M. Cohan. The Princess Theatre musicals and other smart shows like Of Thee I Sing (1931) were artistic steps forward beyond revues and other frothy entertainments of the early 20th century and led to such groundbreaking works as Show Boat (1927) and Oklahoma! (1943). Some of the most famous and iconic musicals through the decades that followed include West Side Story (1957), The Fantasticks (1960), Hair (1967), A Chorus Line (1975), Les Misérables (1985), The Phantom of the Opera (1986), Rent (1996), The Producers (2001) and Wicked (2003).

1776 (musical)

1776 is a musical with music and lyrics by Sherman Edwards and a book by Peter Stone. The story is based on the events surrounding the signing of the Declaration of Independence. It dramatizes the efforts of John Adams to persuade his colleagues to vote for American independence and to sign the document.

It premiered on Broadway in 1969, earning warm reviews, and ran for 1,217 performances. The production was nominated for five Tony Awards and won three, including the Tony Award for Best Musical. In 1972 it was made into a film adaptation. It was revived on Broadway in 1997.

History

In 1926, Rodgers and Hart had written a musical about the American Revolution, called Dearest Enemy. Additionally, in 1950, a musical about the Revolution had been presented on Broadway, titled Arms and the Girl, with music by Morton Gould, lyrics by Dorothy Fields, and a book by Herbert Fields, Dorothy Fields, and Rouben Mamoulian, the show's director.

Sherman Edwards, a writer of pop songs with several top ten hits in the late fifties and early sixties, spent several years developing lyrics and libretto for a musical based on the signing of the Declaration of Independence. Edwards recounted that, "I wanted to show [the founding fathers] at their outermost limits. These men were the cream of their colonies... They disagreed and fought with each other. But they understood commitment, and though they fought, they fought affirmatively." Producer Stuart Ostrow recommended that librettist Peter Stone collaborate with Edwards on the book of the musical. Stone recalled,