Interludes

THE HANGOVER REPORT – Duncan Sheik’s final musical MEMOIRS OF AMOROUS GENTLEMEN channels “Moulin Rouge” and “Cabaret”

• By drediman
• October 19, 2026
• No Comments

One of the more tragic pieces of news to come out of this fall theater season is the passing of Duncan Sheik, a songwriter who, with his award-winning musical adaptation of Spring Awakening, was able to triumphantly transition from pop to Broadway. His death was an untimely one, occurring just prior to the start of previews of his latest musical Memoirs of Amorous Gentlemen, which recently opened at the Culture Club in Chelsea (at the time passing, he was also working on a highly anticipated Off-Broadway revival of Spring Awakening, which is set to open later this fall). Based on Moyoco Anno’s manga, the musical, which features a score by Sheik and a book by Leah Nanako Winkler, tells the story of Colette, a prostitute who is tasked by one of her male clientele to keep a journal of her personal life as potential material for his unwritten novel. From there, the story takes a number of unexpected twists and turns — no spoilers here! — all the while taking a playful and refreshingly objective stance on sex work.

Sheik’s decidedly alluring score is reminiscent of his dreamy pop brew for Spring Awakening, with a touch of the retro synth sound of his underrated American Psycho stage adaptation thrown into the mix. Although there are the occasional clunky lyrics, their appearances are admittedly one of the score’s charming idiosyncrasies. Winkler’s book favors compact storytelling, using songs to propel the plot — which channels Moulin Rouge and Cabaret — and develop character, which is actually the inverse of the approach taken by Sheik and Steven Slater in Spring Awakening, which uses its songs to establish thick atmosphere and provide artful commentary on the confused travails of its hormonal teenage characters. It’s an efficient use of temporal real estate that keeps the pacing swift and involving, although some narrative details are unfortunately rushed through. Rob Ashford leans in on immersive, highly choreographed storytelling, using the blank slate afforded by the Culture Club (the former McKittrick Hotel, the long-running home of the now shuttered Sleep No More). Kudos especially to veteran set designer Scott Pask for vividly transforming the space, complete with rich drapery and in-the-round cabaret-style seating.

In the central role of Colette is Sophia Anne Caruso. With her memorable turns in the musical version of Beetlejuice and the David Bowie jukebox musical Lazarus — as well as an unforgettable debut in Jennifer Haley’s play The Nether years ago — Caruso has emerged as one of the boldest and dramatically compelling young talents staking a claim for musical theater greatness. Singing with distinctive pop-infused heartache, Caruso’s performance is an entrancing cross between the waif-like spunk of Eponine from Les Misérables and the vulnerability/volatility of Sally Bowles from Cabaret. The rest of the cast do well animating their characters — some of them arguably underwritten — with ample personality and robust vocals, while ascribing to the quirky, off-kilter storytelling sensibility of Japanese manga. Of note are the sexy Cory Jeacoma (throwing off some serious Paul Mescal vibes) as Colette’s brash love interest Léon, as well as the striking Nkeki Obi-Melekwe as Nana, the tough-as-nails whore from a competing brothel.

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MEMOIRS OF AMOROUS GENTLEMEN
Off-Broadway, Musical
The Culture Club
1 hour, 30 minutes (without an intermission)
Through January 3