If you’ve ever wondered what would happen if classic Hollywood film noir collided with a Broadway musical, City of Angels is your answer. Directed by Hunter Foster, the musical follows novelist Stine as he adapts his detective novel into a Hollywood screenplay, blurring the lines between the writer’s real life and the fictional world he’s created.
Partners in Crime
The beating heart of this production is undoubtedly Ben Jacoby as Stine and Tony Yazbeck as Stone. Their chemistry is fantastic, and watching the two worlds collide as Stine writes, rewrites, and completely changes the story in real time is one of the show’s most enthralling aspects.. Ben Jacoby brings such an effortless comedic charm to Stine, while Tony Yazbeck is every bit the charismatic leading man you’d expect from a classic detective film.
Then comes the Act 1 finale, “You’re Nothing Without Me.”
Holy. Smokes.
The projections and choreography combine to create one of the coolest theatrical moments I’ve seen in quite some time. When the two leapt and the projections flipped, my jaw genuinely hit the floor. It was one of those moments where you can’t help but think, “Wow. I love the theater.”
Scene Stealers
The supporting cast is equally impressive. Alysha Umphress shines as Bobbi/Gabby, bringing wit and powerhouse vocals. Her duet with Danielle Wade, “What You Don’t Know About Women,” was one of the vocal highlights of the night, with their voices blending together effortlessly. Then Alysha’s final number, “It Needs Work,” delivers exactly the emotional punch you’ve come to expect from her.
My personal standout of the evening was Danielle Wade as Oolie/Donna.
She was absolutely mesmerizing. Her Act 2 opener, “You Can Always Count On Me,” is nothing short of spectacular as she seamlessly transitions between both of her characters within a single song. Her vocals are phenomenal, her comedic timing is spot on, and every moment she was on stage commanded your attention. She was simply sublime.
Lili Thomas makes for a wonderfully delicious villain as Alaura/Carla, fully embracing every ounce of classic film noir femme fatale energy. Her performance opposite Tony Yazbeck during “The Tennis Song” crackled with tension and was one of the most entertaining scenes of the evening.
Stephen DeRosa was hysterical as Buddy Fiddler/Irwin S. Irving. As someone with a Master’s in Television Producing, I especially loved getting to watch the producer character and seeing the curtain pulled back on the often absurd (but not surprising) realities of Hollywood. Lastly, Josh Canfield absolutely steals his scene as Dr. Mandrill, adding another layer of comedic gold to an already hilarious production.
Picture Perfect Design
Behind the scenes, Ogunquit has assembled an absolute dream team.
The Scenic Design by Nate Bertone is breathtaking. Beyond the impressive two-level set that perfectly captures Old Hollywood glamour, make sure you look closely at the ornate framing surrounding the stage. Every detail was hand carved, and it is absolutely exquisite.
The Video & Projection Design by Bryce Cutler completely made this production for me. From the opening moments until curtain call, the projections are woven seamlessly into the storytelling, elevating every scene. I honestly can’t imagine how many moving parts went into making everything line up so perfectly throughout the evening. As incredible as they were all night, the Act 1 finale remains my favorite moment.
Costume Design by Jen Caprio also deserves its flowers. I loved the distinction between the Hollywood world and the movie world, with each character’s costumes subtly reflecting which reality we were watching. It’s thoughtful storytelling through design, and it worked beautifully.
The Critic’s Notes
Of course, no production is without a few notes… and neither is any Booked & Scene review.
For me, the biggest one comes down to the show’s ending itself. I found myself completely invested in the mystery, the relationships, and the way everything was unfolding, but when we finally reached the conclusion, it just didn’t feel quite as satisfying as I had hoped. That’s more a note on the book than this production, but I still walked away wanting just a little bit more.
There were also a handful of moments where the lighting and projections seemed to compete with one another. At times, large shadows obscured the actors, while in others the projections landed across performers’ faces rather than remaining behind them. They’re relatively small moments in an otherwise polished production, and I imagine they’ll continue to fine tune them as the run goes on, but they were noticeable throughout the evening.
Reel Talk
At the end of the day, City of Angels is another reminder of exactly what makes Ogunquit Playhouse so special. Time and time again, they choose exciting productions, assemble exceptional creative teams, and bring together casts that completely commit to the material. The costumes transport you back to classic Hollywood, the film noir atmosphere is rich and immersive, and despite all the murder, mystery, and intrigue, there’s an incredible amount of humor happening throughout the evening.
If you’re looking for a musical that will sweep you away for a few hours and remind you just how magical live theater can be, City of Angels is absolutely one to add to your list.
City of Angels runs through August 22 at Ogunquit Playhouse.
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