The sexiest time Off-Broadway arrives in Duncan Sheik’s tantalizing final show, Memoirs of Amorous Gentlemen. This unique musical, set at the so-called Night Egg at NYC’s Culture Club, has a presentation akin to Cabaret. From the second, you enter the building, the immersive nature of the atmosphere rings out. Being based on a popular manga series means there is plenty to unpack within the nuanced nature of this harrowing tale. Gripping from beginning to end and at times laugh-out-loud hilarious, Memoirs of Amorous Gentlemen carries that Duncan Sheik magic with its lush music and lyrics, and unforgettable staging from director and choreographer Rob Ashford.
“Whore will be whores.” So says Madame (Jenny Powers), the proprietor of the Night Egg, a woman who oversees many such women as they enact a wide array of debauchery activity. This includes but is not limited to: playing pretend clowns, pretending to walk a dog that’s actually a human, shaving men’s legs, enacting threesomes, and all other manner of random kinky behavior. Colette, played by Beetlejuice breakout Sophia Anne Caruso, is not like the other prostitutes. Colette longs to escape the Night Egg to come out of her cocoon, like the lovely woman she has potential to become. Her beautiful boyfriend, Leon (Cory Jeacoma), seems to be holding her back. But love is love, and Colette’s love for Leon knows no bounds. Too bad Leon has eyes for Nana (Nkeki Obi-Melekwe), another whore at a separate institution. The relationship dynamics between these characters fascinates, with even the side characters doing some narrative heavy lifting.
While I was initially expecting a show running off atmosphere and vibes more than anything, Sheik‘s music perfectly ties all of this together. The tone and delivery of these tunes feel very Spring Awakening and American Psycho, especially the latter involving Leon’s character. Some tunes feel like instant classics, destined to become staples in the theatrical canon. Others a little less so, but even the smaller numbers in this tight hour-and-a-half musical are still worth a listen. Colette and Leon’s chemistry is excellent, with the duo playing off one another in multiple songs, primary of which is a gorgeously realized duet. Leon acts as Colette’s muse, even if the love she has for him is not fully reciprocated. Cory Jeacoma does terrific work as Leon, the hunky man of multiple women’s dreams.
As the razor-sharp Nana, Obi-Melekwe gets one of the most memorable songs, during which she proclaims that Colette must have quite a “pretty cunt.” The vulgarity does get extreme, coupled with the erotic visuals of a sex-driven plot in France. However, there is an important distinction to be made. The sexual activity found within Memoirs of Amorous Gentlemen is absolutely plot-driven. This never feels exploitative or as if over-sexualizing or glamorizing this lifestyle. Instead, the focus stays locked on character and tight choreography over spectacle and obscenity. While there’s plenty of coitus to be found, it’s always tied into a musically-relevant piece to forward the story. The beauty in these smaller character moments also stand at a neat juxtaposition against the hyper-sexualized nature of the work they do at the Night Egg.
The staging is wildly original, with immaculate design from Brian Tovar’s lighting to match. A set of four mirrors found on stage help audiences with multiple viewpoints of every single sequence. They add a sort of voyeuristic subtext for that extra perverted touch. Eye candy of both sexes can be found, but the amount of male skin shown feels wisely balanced against that of the females. The stage itself leaves room for lowered beds, tables, and benches. In fact, Caruso gets the biggest showstopper while being lifted from a bench. Her performance, especially during that number, gave full body chills, and a rousing round of applause. Every second of the show features movement of some kind, and there’s always some depraved sexual activity occurring just in one’s peripheral vision. This great technique helps immensely with full immersion. One second you’re watching a compelling moment of vulnerability, and the next a man dressed as a clown emerges from a trunk to tell the characters he just hit orgasm three times.
The one area even slightly lacking here would have to be the book itself by Leah Nanako Winkler, which strings together various threads by putting Colette to work for a rich Japanese man who wants her to pen her exploits to help inspire his novel. At times, it does feel that this angle is a little too simple for such a complex time period. However, much work is made in the show’s back half to weave these strands together, and by the end, it all feels cohesive and satisfying. Costumes from Catherine Zuber also impress in their scantily clad ridiculousness. Memoirs notably never overstay its welcome, refusing to be stretched as many shows are into two acts.
Memoirs of Amorous Gentlemen ultimately makes for a strong female-driven narrative. The show closes with a darling character proudly stating “it’s ironic, I’ve become so iconic.” This seemed meta in a way, as if speaking directly to Duncan Sheik, and his lasting legacy. The show itself is almost a love letter to Sheik’s greater body of work. With sumptuous songs that will earworm their way into your heart, Memoirs of Amorous Gentlemen is a delectable show with plenty to unpack. With songs tailor-made for theater radio, perhaps it’s time to open the doors of the Night Egg for the masses.
Give yourself over to absolute pleasure with Memoirs of Amorous Gentlemen, now playing performances Off Broadway at the Culture Club through January 3rd, 2027. For ticketing information, please head over to the official website.
