Theatre Review: 'Memoirs of Amorous Gentlemen' Fails to Coalesce
Duncan Sheik's final musical opens at the Culture Club with a star-studded cast but suffers from tonal confusion and a familiar plot.
By Marco Kapoor ·
The central tension in 'Memoirs of Amorous Gentlemen' lies in its conflicting tones. The production pairs the gritty reality of a Parisian brothel with bizarre, costume-heavy comic routines, creating a show that struggles to maintain a consistent narrative voice. While the staging is energetic, the story often feels like a series of novelty acts rather than a cohesive drama.
The show runs through Jan. 3 at the Night Egg at the Culture Club, located at 530 W. 27th St. in New York City. The performance space is designed to resemble the fictional brothel from the story, featuring red velvet, mirrors, cabaret tables, and a brass bed. The set evokes the aesthetic of the musical 'Cabaret,' though the source notes that a 'Cabaret' cast album might provide more entertainment than the performance itself.
The narrative follows Colette, a worker at the establishment, played by Sophia Anne Caruso. She is given a notebook by Sakae, a Japanese aspiring writer portrayed by Marc delaCruz. Sakae asks Colette to document her observations. However, her focus remains on Léon, an unreliable lover played by Cory Jeacoma. Léon takes Colette's money and pursues Nana, a more successful courtesan played by Nkeki Obi-Melekwe. The plot follows a standard arc of a devoted young woman, a charismatic deadbeat, and a dream of writing.
Composer Duncan Sheik passed away approximately one week before the musical's previews began. This production marks his last completed work. Sheik is widely recognized for 'Spring Awakening,' as well as his scores for 'The Secret Life of Bees,' 'Alice by Heart,' and 'American Psycho.' His score for 'Memoirs' contains moments of atmosphere, but reviewers note that many songs blur together as ballads or light distractions. The lyrics are described as often awkward, and the opening number, 'Your Perversion Is Our Pleasure,' is more suggestive than erotic in its staging.
The production draws from Moyoco Anno's manga, with a book by Leah Nanako Winkler. The show features several eccentric clients, including a man who dresses as a bird, a man who insists he is a dog, and a customer shaved by 'sheep women.' One scene features Ulysse, the dog character, singing that his reality is defined by how others perceive him. While this moment offers an intriguing perspective, it sits uneasily next to the show's attempts to address the women's limited choices and working conditions.
Rob Ashford, a Tony-winning choreographer, directs the production in the round. He keeps the action moving with energy, but the staging lacks a clear point of view. Caruso delivers strong vocal performances, having previously appeared in 'Lazarus' and 'Beetlejuice.' Her role here, however, may not fully utilize her strengths. The upcoming Off-Broadway revival of 'Spring Awakening' is expected to serve as a reminder of Sheik's more effective work. Tickets are available at memoirsmusical.com.
