City of Angels
- Tracy Payne
- Oct 19
- 4 min read
Hornsby Musical Society
City of Angels is a musical presenting a dual narrative – one arc focuses on a writer named Stine trying to turn his book into a movie in 1940s Hollywood, while the other is the movie itself, a detective story starring a cool private eye named Stone. In the movie world, Stone is hired to find a missing girl and gets caught up in a mystery full of glamorous women, shady characters, and twists. In the real world, Stine struggles with the movie producer, his marriage, and staying true to his story.
Hornsby Musical Society has embraced this challenging production and brought it to life with wit and energy. Under the capable direction of Logan McArthur, the cast and crew transported the audience into the smoky glamour of 1940s Los Angeles, toggling between the parallel plots with visual flair. So, while at this point in a review I would usually turn attention to the performances of the cast, I have to dwell on the work of Jack Goggin (Production Designer) and MJ Denning (Associate Production Designer) and the talented production crew whose creative choices and clever staging strategies provided the perfect platform for the cast to shine. Despite the complexities of the story and its ever-shifting timeline, the audience was engaged, entertained and able to follow the narrative through the seamless lighting and costume shifts that kept the storytelling sharp. The attention to detail was remarkable, even the program was designed to reflect the distinct worlds and ensure that the audience appreciated the nuances of each and the significance of those moments when the worlds began to interact.
While this is a production that leans more into dialogue led scenes that most musicals, the music and choreography still contributed powerfully to the authenticity of the settings and the emotional character arcs of the key players. Under the leadership of Aiden Smith and David Lang, the ensemble’s harmonies were on point, the solo numbers powerful and the on-stage live band was tight and expressive. Bringing further energy and excitement to the musical offerings, Lauren Oxenham’s choreography honoured the Hollywood vibe, effectively utilising the layered staging and accommodating the skills of her cast brilliantly.
The standout musical moments, for me, came towards the end of Act 1. “All you have to do is wait” was hilariously presented with impassioned vocals by Kevin Rodrigueza (as the tortured Police Lieutenant) accompanied by the clever choreography and background vocals of Ethan Beattie, Andrew McBain and Charlie Goddard. As much as this moment of levity entertained the audience, it was the final song of the Act (reprised in Act 2) “You’re nothing without me” that brought the biggest applause. In this song, the two worlds collide as Stone and Stine engage in a vocal battle that powerfully exhibited the remarkable vocal skill and energy of Max Waterson (Stone alternate) and Andrew Mulholland (Stine).
The characters of this show are carefully crafted in the script, founded on stereotypes but developed throughout the narratives to satirise Hollywood and film noir while also raising relatable questions about the tension between artistic integrity and commercial success. The cast worked well to bring this to life. Most cast members were required to present multiple roles and the way in which they accomplished this with subtle yet distinct nuances was very impressive.
Balancing roles of loving wife and sultry temptress were Sarah Paull (Gabby and Bobbi) and Bronwyn Dyer (Carla Haywood and Alaura Kingsley). Both performers brought believability to their contrasting characters, delving wholeheartedly into both the emotion and the humour of their roles. Dyer, in particular, moved seamlessly between the demands of seductress, villain and leading lady, committed to character in every song, dance and line. Similarly, Caitlin Parr aptly balanced the dual roles of Mallory and Avril, bringing an authenticity to characters so fundamental to the film noir genre.
The principal female lead role, for this performance, was played by Victoria Alfieris (Donna and Oolie) and she shone as the underestimated and undervalued “Girl Friday” to both Stone and Stine. Alfieris was captivating on stage. She oozed charm, showed great chemistry with her co-stars, and brought a powerful vocal performance especially in “You can always count on me”.
Key to the Hollywood vibe were the delightfully awful Producer characters of Buddy Fidler and Irwin S Irving played by Kris O’Ryan with the perfect degree of sardonic wit. He was accompanied in his representation of Hollywood by a long list of “expected” roles – ingenue, mobsters, mad scientist etc – capably presented by the energetic and tight-knit ensemble. Further adding to the tone of the era were the musical stylings of the “Angel City Four” (Jess Knight, Maddi Campbell, Benjamin Gibiec & Charlie Goddard), a regularly appearing vocal quartet who brought perfect harmonies and comedic responses, adding engaging layers to key scenes and the audience’s understanding of key moments and characters.
Every Hollywood classic needs a charismatic leading man and City of Angels gave us two. Max Waterson, as Stone, oozed cool confidence, delivering deadpan one-liners with impeccable comic timing and a deep voice that encapsulated the stereotypical film noir detective perfectly. Andrew Mulholland’s performance as Stine was perfect. His vocals were powerfully impressive and his representation of Stine’s emotional unravelling was portrayed with authenticity and heart.
This production is a testament to what community theatre does best: bold storytelling, passionate performances, and a whole lot of heart. Whether you’re a fan of film noir, musical theatre, or just love seeing local talent shine, City of Angels is a must-see. Bravo to the entire team for bringing this ambitious show to life with such style.
17-26 October 2025 at the Pioneer Theatre
Comments