Lights, camera, action! It’s the 1940s in the golden era of Hollywood. Studios are reigning supreme, Technicolor is becoming widely adopted, and wartime propaganda is heavily influencing production. Dramatic film noir, lavish movie musicals, and thrilling westerns grace movie screens across Ameri ca, and cinema rapidly becomes the most popular form of entertainment. City of Angels, a musical by Larry Gelbart (book), Cy Coleman (music), and David Zippel (lyrics), uniquely transports audiences back to this pivotal cultural era through riveting play-within-a-play storytelling. The Colonial Players of Annapolis is currently staging this dynamic show, expertly led by Beth Terranova (director) and Michelle Bruno (music director). This talented troupe delivers a tantalizing trip through time filled with thrilling adventure. City of Angels is told through two parallel stories: one set in Hollywood and the other in a film-noir world. Oftentimes, the two settings intersect, leading to interactions that blur the line between fantasy and reality. In Hollywood, Stine, an accomplished novelist, comes to the city on a mission to adapt his detective novel into a movie script. During this journey, Stine faces pressure-cooker studio culture, shallow producers (namely, the demanding Buddy Fidler), and the relentless sacrifices of life in the film industry. Meanwhile, Stine also endures frequent disagreements with his wife, Gabby, and these clashes put strain on their marriage. She disapproves of Stine’s unfaithful behavior, as well as his willingness to compromise his integrity and morals for success. Stine’s novel (set in the fictional movie world, where his characters come to life) revolves around Stone, a cynical private detective. Alaura Kingsley, a gorgeous aristocrat, hires Stone to track down her stepdaughter, Mallory Kingsley, who has mysteriously disappeared. Alaura uses her wealth and beauty to control Stone, and her scheming manipulation threatens her family life. Stone’s investigations uncover backstabbing, deception, and ethical dilemmas, and the characters in his circle mirror real-life individuals from Stine’s life in Hollywood. Kasey Colligan, Erica Miller, Nathanael Quay, and Shelly Work in ‘City of Angels.’ Publicity photo by Brandon Bentley. As Stine, Nathanael Quay brilliantly depicts the character’s beleaguered disposition, delivering his lines with zeal and precision. He perfectly conveys Stine’s conflict between staying true to himself and appeasing the Hollywood elite. Quay presents a pleasant baritone in his soul-searching solo, “Funny.” Luke Tudball is sensational as Stone, exuding unfaltering confidence. He characterizes Stone with a gruff demeanor and brassy swagger, much to the audience’s delight. An excellent vocalist, Tudball was charming alongside Quay in their humorous duet, “You’re Nothing Without Me.” Erica Miller, as Alaura Kingsley, delivers dulcet vocals and personifies the femme fatale through her sultry movements and suave speech.  In a mesmerizing portrayal of Mallory Kingsley, Taylor Hinds presents a hypnotic stage presence while exhibiting a rich mezzo in her solo, “Lost and Found.” She wonderfully articulates Mallory’s mysterious and secretive lifestyle through her dramatic narration. As the domineering producer, Buddy Fidler, James Zemarel impressively reflects both the comedic and tyrannical sides of this complex character. A remarkably versatile actor, Zemarel demonstrates sharp wit while arrogantly treating writers as servants. Shelly Work colorfully expresses bitter anger as Gabby, vividly illustrating the ruthless struggles of her marriage. Work also portrays the nightclub singer, Bobbi, and her extraordinary vocal range shines through in her stellar rendition of “With Every Breath I Take.” Other noteworthy performances include Kasey Colligan as Oolie (Stone’s secretary) and Donna (Buddy’s secretary) and Brian Binney as the vengeful police detective, Lieutenant Munoz. Colligan projects polish and authority as both secretaries, and her spectacular vocal talent is showcased in her rousing solo, “You Can Always Count on Me.” Binney is tremendously entertaining as Lieutenant Munoz, and his Latin-infused song-and-dance routine in “All You Have to Do Is Wait” is a highlight. His energetic presentation elicits resounding laughter, and his contagious enthusiasm is endearing. The Angel City Singers (Christian Hudspeth, Dillon McCarrick, Marela Kay Minosa, Becki Placella, Laura Schaeffer Raynor, Macrae Smith, Finch van Greunen, and Davis Wootton-Klebanoff) beautifully render musical interludes throughout the production, excelling both as soloists and as an ensemble. McCarrick additionally portrays radio crooner Jimmy Powers, and his superb tenor voice effortlessly fills the room.  Beth Terranova’s minimalist set design creatively utilized the intimate, in-the-round performance space. Terranova cleverly used different areas of the stage to represent varying locations, allowing the audience to become immersed in the story from any seat. Ann Edwards fabricated more than 100 costumes for the production, and her outfits displayed a vast array of 1940s fashions. Lighting designer Dianne Trickey-Rokenbrod skillfully used contrasting lighting to reflect the two worlds of the play, using bright lights for the Hollywood scenes and darker lighting for the film-noir scenes. While the ideals and scenarios in City of Angels may feel somewhat dated in terms of 1940s symbolism and gender norms, the musical’s core subjects are still relevant decades later. The central themes of art vs. commerce, distorted realities, and the cutthroat nature of the entertainment industry still strongly resonate in 2026. Modern artists will relate to the challenges of producing meaningful work while appealing to mass audiences. Online personas and social media masks draw parallels to the duality of Stine vs. Stone, as well as to the vastly different environments of film and real life. Much like the characters in the play, entertainment professionals often accept unreasonable demands to stay employed and reinvent themselves to survive in the industry. These tensions are relevant to modern-day strikes, as are the curated public identities that play a central role in today’s entertainment landscape. The Colonial Players have assembled an outstanding production of City of Angels for their annual spring musical, a wonderful continuation of its storied tradition. Theatergoers are sure to be humming the unforgettable jazz score long after the final notes, and this upbeat rewind to 1940s Hollywood is well worth the drive to Annapolis. Be sure to take advantage of a wonderful opportunity to see this rarely-produced show in an intimate, in-the-round setting. Quite the theatrical experience, indeed!  Running Time: Two hours and 40 minutes, including a 15-minute intermission City of Angels plays through March 28, 2026, at The Colonial Players of Annapolis, 108 East Street, Annapolis, MD. Performances are Thursdays-Saturdays at 8 p.m. (except for a 5 p.m. curtain on Saturday, March 28) and Sundays at 2 p.m. There is no performance on Sunday, March 8. Tickets ($23–$28) can be purchased online, in person at the Colonial Players box office, or by calling the Box Office at 410-268-7373. A virtual playbill is available here. Note: Contains strong language, stylized violence, sexual innuendo, intimate/sensual moments, infidelity, and period-specific sexism and racism. Non-firing replica prop guns are used onstage. No gun is capable of firing live or blank ammunition, and all gunshots are sound effects. The production also utilizes sudden light changes and a fog machine.  City of AngelsBook by Larry GelbartMusic by Cy ColemanLyrics by David ZippelDirected by Beth TerranovaMusic directed by Michelle BrunoSet Design by Beth TerranovaLighting Design by Dianne Trickey-RokenbrodCostume Design by Ann Edwards The post Upbeat ‘City of Angels’ recalls 1940s Hollywood at Colonial Players of Annapolis appeared first on DC Theater Arts. ...read more read less