Duncan Sheik’s latest musical, “Memoirs of Amorous Gentlemen,” which opened recently in New York, explores themes of desire and self-discovery against the backdrop of a Parisian brothel in the early 20th century. The production marks Sheik’s final work, following his death shortly before previews began.

Set in the Night Egg, a not-quite-upscale brothel, the show is narrated by Colette, portrayed by Sophia Anne Caruso, a young woman chronicling her experiences as she seeks both artistic identity and emotional growth. The narrative draws on a manga by Moyoco Anno, whose illustrations are displayed in the theater’s lobby. Colette is encouraged by Sakae, a Japanese failed novelist played by Marc delaCruz, to record her life in a notebook, paralleling the historical French writer Colette’s use of autofiction.

Despite its suggestive premise, the musical takes a muted approach to eroticism and sexuality. Opening with a scene directed and choreographed by Rob Ashford, the brothel’s residents appear in slow-motion tableaux of feigned intimacy, evoking a stylized, somewhat theatrical atmosphere rather than raw sensuality. The immersive set design by Scott Pask, featuring tarnished mirrors and heavy red drapes, offers a visually rich environment that contrasts with the show’s restrained portrayal of desire.

Leah Nanako Winkler’s book emphasizes Colette’s personal and creative awakening over the relationships between the sex workers and their clients. While Sheik composed some of the show’s more emotional music for Caruso’s character, the score largely relies on repetitive ballads that do not fully utilize the actress’s range.

The storyline includes tensions surrounding Colette’s boyfriend Léon, played by Cory Jeacoma, whose manipulative behavior and infidelity with another courtesan, Nana (Nkeki Obi-Melekwe), complicate Colette’s journey. However, the brothel itself is depicted as a relatively benign workplace, with little exploration of the harsher realities traditionally associated with sex work, aside from a passing mention of the madam sending disobedient employees to a basement.

While the original manga incorporates ambiguous and complex takes on sexuality and desire, the stage adaptation has been described as lacking in both eroticism and the psychological depth found in the source material. The creative team’s stated intent to frame seduction as therapeutic leads to a tone some observers view as clinical or superficial. Songs like Colette and Léon’s duet “Sometimes in the Evening” offer moments of subtlety, but much of the musical gravitates toward awkward or clichéd expressions of romance and lust.

Overall, “Memoirs of Amorous Gentlemen” presents a stylized, somewhat sanitized perspective on erotic themes, prioritizing the protagonist’s artistic awakening while leaving the complexities of human desire and social dynamics largely unexplored.