It’s the 1940s and Stine’s detective novel, starring detective Stone, is being made into a film noir screenplay. As Stine fights to maintain his story’s authenticity and pushback against his egotistical producer in the real world, Stone fends off the underbelly of LA and strives to stay honest in the world of the film’s story. Well, honest-ish.

Winner of best new musical Tony in 1990, City of Angels satirises and pays tribute to the film noir genre, and the Hollywood era best known for them. Hayes Theatre Co’s production, helmed by director Sam Cooper, goes all-in on big band music and grand set design to film set in olden day Hollywood. Writer Larry Gelbart’s dry satirical humour will have you chortling and rolling your eyes at cheesy one-liners, while Cooper’s direction ensures the problematic stereotypes true to the era are delivered with self-awareness and sarcasm.

The split-story is typically delivered on a split stage, with Stine’s world in colour and Stone’s world in black and white. On the small Hayes stage, however, set designer Simon Geer has merged the two, distinguishing them with costuming and prop movement throughout the performance. The approach makes sense for the stage but does make it feel a little overcrowded once you add performers into the mix. Intricately designed lighting by James Wallis washes the stage in colour or drains it as needed, and music direction by Abi McCunn and Damon Wade sees the onstage orchestra and musical quartet ‘Angel City Four’ scene stealing left and right.

Aaron Tsindos as Stone is the quintessential hard boiled detective, from his vintage American accent to his wry smile and swagger. Stone’s character begins in the pages of Stine’s novel, but as he increasingly occupies Stine’s mind becomes more prominent in the story as a whole, Tsindos’ performance really bringing the two halves of the show together. Glenn Hill’s Stine is a trickier character to get behind, as while his creative integrity is clear, he’s not so squeaky clean in his personal life. Hills captures his frustration at constantly having to compromise himself in order to get his dream screenplay off the ground, and you realise he has written Stone as the courageous man Stine wishes he could be. Their duet “You’re Nothing Without Me,” which closes Act 1, is performed superbly.

Outside the roles of Stone and Stein, each of the cast performs one character from the real world, and one from the black and white film. The three female leads, Penny McNamee (actress Carla/ femme fatale Alaura), Mia Morrissey (Stine’s wife Gabby/Bobby) and Shannen Alyce Quan (Stone’s secretary Oolie/Stine’s secretary Donna) each have a compelling presence on stage, particularly Morrissey in her portrayal of Stine’s wife, watching him become unrecognisable, and Quan as the right hand of both Stone and Stine. “Their rendition of “What You Don’t Know About Women” also really puts the men in their place!

City of Angels shoots for the stars, and despite getting a little lost in the weeds at times is a really fun romp through Hollywood’s cutthroat approach to movie profiteering, A great night out at the theatre for musical and mystery lovers alike.

Purchase your ticket to City of Angels here.

Muscat | Wine Pairing

Muscat, the fortified version of Muscatel or Moscato, is a decadent and warming wine fitting for the indulgent world of 1940s Hollywood. My partner and I enjoy nothing more than a little nip of Muscat after dinner, the dried fruits and Christmas-like spice of the sweet wine deliciously balanced by the heat of the added alcohol.

City of Angels, Hayes Theatre Co | Tasting Notes

Aussie Season	23 June to 23 July 2023, Hayes Theatre Co, Sydney. Produced by Jacob Robson Productions
Ticket $	$79-85
Writer	Music by Cy Coleman, Lyrics by David Zippel and Book by Larry Gelbart
Director	Sam Cooper
Theatre Type & Genre	Musical, drama comedy
See it if you like	Film noir, satire, jazz ‘n blues
Wine Pairing	Muscat
Criteria for Wine Pairing	fortified wine, rich aroma and palate, dried fruit and spice