City of Angels
A jazzy, witty ride through noir and ambition, elevated by breathtaking design, lighting and choreography.
City of Angels is a dazzling and unconventional musical weaving a clever, jazz-infused homage to Hollywood’s golden age with a sharp-witted exploration of art, ambition, and the blurred line between reality and fiction. This production balances wit, melody, and satire with remarkable precision — a stylish love letter to film noir and the messy business of storytelling.
The musical unfolds in two parallel worlds: the smoky, black-and-white film being written, and the vivid Technicolor “real” world of its creator, Stine — a novelist struggling to survive the Hollywood studio system without selling his soul. His fictional detective, Stone, embodies everything Stine wishes he could be: tough, principled, and unflinchingly cool. As the narratives begin to bleed into each other, the boundaries between truth and invention blur, offering a sharp and satisfying commentary on art, ego, and integrity.
Playing the cynical gumshoe Stone is Max Waterson, who skillfully captures the film-noir detective in the best stereotypical fashion, with exceptional timing and nuance. His beautiful speaking voice and perfectly pitched voiceovers lend the role rich authenticity and atmosphere. Opposite him, Andrew Mulholland portrays Stine, the weary Hollywood screenwriter whose growing compromises with the studio system lead to the show’s climactic reckoning. Mulholland creates a beautifully developed character and is convincing throughout — not just a singer but a consummate actor who, by the second act, flourishes in the role and clearly establishes the journey of the writer’s struggles and eventual triumphs with gusto and skill. Waterson and Mulholland are inspired casting choices — each possessing expressive, nuanced singing voices that shine individually and soar in duet. Together, they form the emotional heartbeat of the story.
The show features many standout performances, notably Kris O’Ryan as the Hollywood film director Buddy Fidler, a brilliant cliché of money, power, and the relentless chase for the almighty buck at the expense of Stine’s artistic vision. O’Ryan has superb stage presence and delivers several fantastic musical numbers with swagger and wit, leaving audiences both hating and loving him in equal measure.
Equally captivating is Victoria Alfieris, whose gorgeous singing voice captivates from her first note, while her credible acting anchors the performance in truth. She moves seamlessly between the stylised film world and the grounded reality of the writer’s life, her poise and presence perfectly complementing the show’s blend of satire and sincerity.
Bronwyn Dyer impresses in vastly different dual roles as the self-assured Hollywood WAG Carla Haywood and the sultry femme fatale Alaura Kingsley, displaying remarkable acting range and conveying both characters with conviction and confidence. She presents a distinct difference between the two, leaving no room for confusion — stagey and one-dimensional in the “screen” world, then transforming into the three-dimensional realism of the other role.
Another highlight is Kevin Rodrigueza as Lieutenant Munoz, whose incredible energy, comic timing, and captivating stage presence light up the stage. His show-stopping performance of “All You Have to Do Is Wait” is a triumph and an audience favourite. Rodriguez’s incredible comic timing and character portrayal as the detective rightly endears him to the audience.
Mention must also be made of Ethan Beattie, who plays a variety of minor roles with great aplomb and admirable variation in characterisation (also the dance captain for the show). His versatility adds texture and humour throughout the production.
The beautiful chorale work of The Angel City Four, along with Jimmy Denton on lead vocals, created pure magic — their fabulous, buttery harmonies perfectly aligned to the nuances of the era, wowing the audience every time they took the stage.
From the show program to the stage, the design elements are meticulously conceived — monochromatic yet brilliantly warm, drawing the audience in while clearly delineating between fact and fiction. The set is purposeful and intricate; the lighting is the glue that holds the show together — cool, warm, shadowy, and constantly surprising. The costuming is informative, transitional, and vital — true eye candy that defines both worlds with flair. The clever and engaging choreography, by Lauren Oxenham, is interesting, appropriate, and nuanced, bringing the whole stage to life.
The production includes a fabulous set complete with multiple levels, including the band performing across tiers, giving the show visual dynamism and cinematic layering. Scene after scene is created through complicated, clever lighting and a creative use of a largely preset stage. Every inch of the space is utilised to realise this demanding script, and the performers negotiate the myriad of levels with impressive precision.
Aiden Smith, as Musical Director, makes light of the complex score and the show’s multi-layered harmonies, delivering an impressively cohesive sound. This is no easy task — City of Angels features both a complicated plotline and a difficult score, and Smith’s musicians handle it with remarkable sophistication.
First-time director with Hornsby, Logan McArthur does a stellar job with this ambitious and multifaceted musical, making full use of the stage and creating intimate pockets for key scenes. While the stage crew’s nimble handling of the set deserves praise, some transitions in Act I briefly interrupted the flow, and the first act itself is slow to get going, at times seeming to lack vibrancy and conviction. By contrast, Act II transitions are cleverly underscored with music or voiceovers, allowing scenes to melt seamlessly into one another — a clear sign of McArthur’s growing assurance in balancing pace and storytelling rhythm.
Overall, the musical is beautifully conceived, with clever design, inventive direction, and some very strong performances. While a few solo numbers felt slightly jarring and some characters could have benefited from greater depth or clearer differentiation between the “real” and “reel” worlds, this is an otherwise strong and imaginative production.
Audiences are treated to a dazzling blend of intricate harmonies, clever choreography, and compelling performances that transport them into both smoky noir and vibrant Hollywood. City of Angels is both a parody and a celebration — a production that entertains, impresses, and leaves a lasting impression with style, sophistication, and heart.
If you have never seen City of Angels, you will be delighted with this production.
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