Singing Opportunities in "Curtains" Production

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.

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.

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.

Brash and brassy Broadway producer. Terrific comedic actress with a belt.

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.

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.

English director. Very camp. Very droll. Noel Coward meets Addison DeWitt meets Clifton Webb. Requires a superb comic actor.

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.

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.

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.

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.

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.

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.

A member of the singing and dancing ensemble featured in “Kansasland,” pleasant but with a sensitive side.

A member of the singing and dancing ensemble who bears a bouquet.

A member of the singing and dancing ensemble who speaks from experience.