Review: Camelot’s ‘City of Angels’ boasts solid performances, with several actors playing two parts

By Lucie K. Scheuer for Ashland.news

In 1940s Hollywood, film noir was all the rage.

There were these dark true crime mysteries, many based in LA, written by the likes of Raymond Chandler, made into blockbuster films like ”The Big Sleep” with Bogart and Bacall, or “The Blue Dahlia” starring Alan Ladd and Veronica Lake. But it wasn’t all murder and romance.

In reality, due to demands for constant rewrites, a number of famous authors, including Ernest Hemingway, regretted bringing their stories to the screen.

“City of Angels,” now playing at the Camelot Theatre in Talent is a musical about crime novelist Stine, trying to adapt his murder mystery to a screenplay. In real life, Stine’s life has reached a tipping point. His marriage is falling apart. The studiohead and producer, Buddy Fidler, won’t leave his story alone. In Stine’s fictional screenplay, his private detective, Stone, (subtly played by Ryon Lane) faces his own dilemmas. His Girl Friday, Oolie, feels taken for granted, and Stone believes a wealthy woman who hires him to find her stepdaughter is trying to frame him for murder.

The two stories are cleverly juxtaposed and played out for us simultaneously on a divided stage, with author Stine’s world in color and private investigator Stone’s in black and white. Much credit goes to set designer Christopher Burkhardt, lighting designer Kate Landon and director/choreographer Todd Nielsen, for bringing the two worlds together. Kudos, also, to Nielsen for directing two stories at the same time.

It is a musical play in the style of the 40s, with cynical undertones and familiar bon mots like “only the floor kept her legs from going on forever.” There were musicals in the 1980s such as “The Phantom of the Opera” and “Les Misérables” that were more interesting musically and lyrically, and much easier to follow. “Angels” entertains, however, with energetic numbers and a commingling of musical styles – jazz, blues and swing. Numbers (enough to fill three musicals) and scene changes (over 15 of them) are performed by a talented ensemble with strong voices that blend well.

”Angels” is a long musical that simulates some munitions being discharged, but they’re toned down enough to add intrigue. At first, PI Stone seems a bit too passive to figure anything out. Zach Virden builds on Stone’s conflicted character, however, making him work.

The book for “City of Angels” was written by Larry Gelbart, of “M.A.S.H.” fame, with music by Cy Coleman and Lyrics by David Zippel. One of their best numbers is sung by Kaitie Warner, who plays Bobbi, a down-and-out singer at the Blue Note cocktail lounge, who once had a thing for PI Stone until he royally messed things up. Well, maybe. As she sings “With Every Breath I Take,” she captures the blues of a real woman who has had her dreams shattered by jealousy and fate. 

You couldn’t have typecast Mark Ropers any better as producer Buddy Fidler. He’s the stereotypical studio head, sometimes charming, other times demanding, always right. Ropers stumbled over several lines, but he’ll get there with enough practice. 

Other standouts in the cast, (many of whom play two parts) are Haley Jane Forsyth as Oolie; Kelly Jean Hammond as Alaura, Alyssa Hertzog as Mallory, and Connor Lomeli as Manny Munoz, a determined, disappointed cop.

Costumer Celina Gigliello has done a fine job of bringing those tailored, 40s-style dresses and suits topped with fedoras to life. As always, Karl Iverson’s music tracks support all the singing well, with a nod to music director Don Harris’s’ push for lyrical clarity and musical motivation.

As with most convoluted murder mysteries, Stone eventually comes to terms with his alter ego Stine, with the show’s hit song “You’re Nothing Without Me.” You might not be that invested by the time you get there, but you’ll know you’ve experienced some outstanding, local talent.

Reach Ashland-based writer Lucie K. Scheuer at LucieScheuer19@gmail.com.