Memoirs of Amorous Gentlemen – 12 October 2026
Memoirs of Amorous Gentlemen follows the story of Colette (Sophia Anne Caruso), a young writer working in a whorehouse in Paris as she examines the things that make her laugh, make her cry, fill her with longing, and are her perversions. Colette begins writing at the bequest of Sakae (Marc Delacruz), and her writing brings her solace through the difficult loss of a lover, Leon (Cory Jeacoma). Sakae does not think much of Colette’s writing, but once one of the clients at The Night Egg helps Colette unlock her ability to imagine and write about her fantasies instead of her realities, she achieves literary recognition and becomes the mistress of her own destiny.
I cannot write this review without acknowledging the loss of composer and lyricist Duncan Sheik, whose final new production is now Memoirs of Amorous Gentlemen. He was an absolute visionary, whose impressive use of vocal textures elevated his utterly unique scores. His fascination with the way society thinks about sex comes through the clearest in this final work, and its voyeuristic moments tease and delight. The score is distinct from his previous works and feels new and playful, rather than recycled and rearranged. The pounding, pulsating energy was alive in a room that asked the audience to leave all judgment behind and give in to whatever perversions are part of the experience. Influences from anime scores are clearly present, as well as Sheik’s own style of vocal arrangements and orchestrations, co-credited with Or Matias. The music, along with Caruso’s dizzying interpretations of it was a temptation unto itself, and kept the night moving with electric energy.
The book (Leah Nanako Winkler) left much to be desired. When there were scenes, they were vague— most of the book was monologues in which Caruso repeatedly expressed heartbreak and unhappiness. Try as I might, I couldn’t form an attachment to any of the other characters, as they had no redeeming qualities. This meant that I didn’t feel anything when they died, and I couldn’t truly understand the depths of Colette’s losses. The show leaned too heavily into universality; the lack of specificity made the story vague, distant, and hard to relate to. Though Caruso’s performance demanded that we pity her character, there were no complex emotions or feelings to process. I was disappointed by this, as I associate Sheik and previous collaborators with a good deal of depth and meaning; Spring Awakening was such a powerful jumping off point for difficult conversations. I expected more from Memoirs of Amorous Gentlemen in this regard.
The aesthetics of this show borrowed bits and pieces of other ideas. Some of the color choices in the lighting (Brian Tovar), particularly towards the beginning, grounded us in an anime/manga world. There was a musical number early on that very successfully borrowed the bright pinks, icy blues, and flashy yellows of Japanese artistry. Costume wise (Catherine Zuber), the nods to Moulin Rouge and other flashy cabaret style musicals were stunning and enigmatic. Sound design (Cody Spencer) walked the line between night club and musical with elegance and finesse, and Scott Pask’s scenic contributions were elaborate and dazzling, though at times reminiscent of Broadway’s most recent revival of Cabaret.
The overall experience of the show was high energy and at times quite sensual (depending, of course, on your perversion). It wasn’t specific. It wasn’t good storytelling. It wasn’t emotionally stirring or thought provoking. It was a space to just let yourself play and hope and dream without being told that what you like to look at or imagine is wrong. It’s a fun adventure, built around the idea that everybody’s thoughts are worth hearing and considering, and that society shouldn’t get to decide whose desires are right or wrong. Memoirs of Amorous Gentlemen may disappoint a little in terms of story, but it makes up for those losses in its immersive energy and affirming messages about sexual desire, some whispered as secrets, others screamed loudly to the sky. Memoirs of Amorous Gentlemen cleverly explores a world where no desire is wrong (except possibly for love) and, in the end, affirms that loving others is fleeting, while self love is eternal and can carry one wherever they need to go. It’s a highly enjoyable evening and a worthwhile experience. Go revel in the atmosphere.
I attended this performance on a press pass from DKC/O&M.
