When choosing a supportive profession in which to set a musical, there is indeed no business like show business.

Following in the successful footsteps of earlier musicals such as "Kiss Me Kate," "A Chorus Line," "42nd Street" and "Gypsy," "Curtains" takes the audience into the backstage world where what goes on behind the scenes can be more interesting than the show onstage.

"Curtains" had its Broadway debut in 2007, where it earned eight Tony nominations including those for best musical, best book of a musical and best original score, so it's something of an accomplishment for Pittsburgh Civic Light Opera to be one of the first regional theaters to produce it.

Combining a murder mystery with romance, comedy and big ensemble dance numbers, "Curtains" is set in Boston in 1959 where "Robbin' Hood," a new musical, is limping its way through tryouts on its way to Broadway.

When the show's star — a movie actress who's as dim-witted as her career is faded — drops dead during the opening night curtain call, everyone in the company is suspect.

The stage-struck police investigator assigned to the case quickly finds himself not only sleuthing out the murderer but falling for one of the cast members and helping remedy the show's shortcomings.

As the body count rises and the show's problems defy improvement, the question becomes whether Lt. Chioffi can solve the crimes before the show — and its cast — dies out of town.

Book writer Peter Stone conceived "Curtains" with composer John Kander and lyricist Fred Ebb, the songwriting team for shows that include "Chicago" and "Cabaret." After Stone died, Rupert Holmes stepped in to finish the book and director Scott Ellis helped shape the show through readings.

The musical within the musical offers lively, splashy dance numbers while the backstage scenes create possibilities for lovely, romantic songs such as "Thinking of Him" and "I Miss the Music," which Kander wrote as a tribute to Ebb after his creative partner died while the show was being developed.

Songs such as "Show People," "It's a Business," and "What Kind of Man" are as smart as they are funny as they examine the pretensions and passions of theater people.

It's a big undertaking which Pittsburgh Civic Light Opera carries off with an abundance of style, sparkle and humor and only a few glitches, with sliding wigs and improperly activated microphones.

Director Charles Repole and choreographer Michael Lichtefeld do their usual fine job of keeping the action moving seamlessly forward and energizing the audience and proceedings with high-kicking dance steps.

The huge cast of 26 is headed by Sally Struthers as the tart-tongued, no-nonsense producer Carmen Bernstein and Malcolm Gets as Lt. Frank Cioffi. Struthers turned in a vivid, confident performance and generated many of the evening's biggest laughs.

Early on, Gets seemed a little distant and unfocused. But his lonely detective character grew more interesting in the second act as he relaxed into the role.

Danette Holden and Rob Sutton turn in expressive performances as the formerly married songwriters Georgia Hendricks and Aaron Fox and Stuart Marland is delightfully snarky as the British director Christopher Belling.

For those who love old-fashioned musicals, "Curtains" is a brand new opportunity to indulge their pleasure.

Additional Information:

'Curtains'

Produced by: Pittsburgh Civic Light Opera

When: Continues through Sunday, with performances at 8 p.m. tonight and Friday (06/25), 2 and 8 p.m. Saturday June 26 and 2 and 7:30 p.m. Sunday.

Admission: $26.50-$70.50

Where: Benedum Center, Seventh Street at Penn Avenue, Downtown.

Details: 412-456-6666 or online

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