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Regional Reviews: Phoenix City of Angels Also see Gil's review of Little Shop of Horrors
The plot follows Stine, a novelist-turned-screenwriter, as he struggles to adapt his detective novel into a Hollywood screenplay due to his ongoing clashes with domineering film producer Buddy Fidler. While Stine's fictional alter ego, private eye Stone, battles crime, corruption, and femme fatales in the world of the script, Stine's personal and professional life begins to mirror the events in his screenplay. The musical weaves a witty, fast-paced narrative that satirizes Hollywood excess while celebrating the characters and plots of film noir detective movies. The ingenious and funny yet also sophisticated book by Larry Gelbart blends perfectly with the jazzy, period-perfect score with gorgeous music by Cy Coleman and witty lyrics by David Zippel. All three men won Tony Awards for their contributions. The cast is strong, with the leads all skillfully managing the shifts in time as many also easily navigate the demands of playing dual roles. As Stone, C. J. Blankenship oozes the street smarts and charisma of a classic film noir hard-boiled private investigator who has a sharp tongue and a troubled past. Kolby Kelly brings a grounded intensity to Stine, the successful novelist turned frustrated screenwriter who has to navigate the compromises demanded by Hollywood that force him to water down the characters and events in his book for the screen. Both Kelly and Blankenship have great stage presence and strong, rich vocals that make their songs resonate. The three actresses tackling the dual roles of the women in the lives of both Stone and Stine are very good. Kori Stearns brings a lovely sense of realism to the roles of Gabby, Stine's smart, strong-willed, yet overlooked and increasingly disillusioned wife in the real world, and her noir counterpart, Bobbi, a sultry nightclub singer and Stone's former lover, whose life events add emotional weight to the detective's storyline. Although some of her dialogue is shouted with an accent that makes it hard to grasp every word, Kris McQuaid is an audience favorite in the comical roles of Oolie and Donna. Oolie is Stone's loyal and underappreciated secretary who offers sarcastic observations and heartfelt loyalty, while Donna is Stine's co-worker and lover who ultimately challenges him to confront his professional compromises. McQuaid's winning delivery of "You Can Always Count on Me" is a comic highlight. Sarah Wiechman is perfect as Alaura, the seductive femme fatale in the fictional world, and Carla, her real-world counterpart who is the glamorous actress playing Alaura in the film. All three women have impressive singing voices. In supporting roles, Peter J. Hill is fun as brash, controlling Hollywood producer Buddy, who is constantly rewriting Stine's script and asserting creative dominance. Shaylen Sparrow is great as Mallory, Alaura's mysterious stepdaughter, whose disappearance sparks Stone's investigation. She also plays the brainless young actress cast in the role, who constantly flirts to improve her career prospects. Alex Gonzalez has a lot of fun as Munoz, Stone's former police partner who is now a Lieutenant, as well as the actor who plays the character in the film. The large ensemble cast features Adam Gobeski as a crooner and Allyson Igielski, Michael Leeth, Kathie Merritt, and Suze St. John as a singing quartet who are weaved effectively throughout the show, as well as several others who play a host of quick-changing characters with flair, ensuring that the characters in both worlds of the musical feel fully realized. Peter J. Hill's direction is sharp and smart, using the limited space well. Transitions between the two storylines are executed smoothly, often enhanced by Hill's creative lighting and blocking that keeps the action flowing. The film noir aesthetic is evoked through stylish black-and-white costuming by Toya Abrams, evocative sound design by Elias Matthews, as well as the clever use of projections by Hill and Matthews that immediately grounds each scene in either the colorful 1940s Hollywood setting or the black and white film world. Hill's set design is good and minimal, but he also uses a few large set pieces that make some transitions clunky due to the lack of space to move the pieces on and off stage. While musical tracks are used, they are very good and Jay Melberg's music direction derives strong notes from the cast, although some of the vocals could be louder. Blankenship's choreography, while appropriately only used in a few numbers, is quite effective. City of Angels is a sophisticated and intricate musical that demands clarity, precision and style. Fountain Hills' production proves that you don't need a massive stage to deliver on what's required. With clever staging, strong performances, and sharp visual style, Fountain Hills brings the wit and sophistication of this smart musical vividly to life. City of Angels runs through May 25, 2025, at Fountain Hills Theater, 11445 N. Saguaro Blvd., Fountain Hills AZ. For tickets and information, please visit www.fhtaz.org or call 480-837-9661. Director/ Set Design / Lighting Design: Peter J. Hill Cast: |
