{"id":11489,"date":"2020-03-12T17:19:55","date_gmt":"2020-03-12T17:19:55","guid":{"rendered":"https:\/\/laughfrodisiac.com\/?p=11489"},"modified":"2021-11-09T21:52:33","modified_gmt":"2021-11-09T21:52:33","slug":"city-of-angels-at-the-garrick-nearly-superb-production-of-a-nearly-great-show","status":"publish","type":"post","link":"https:\/\/laughfrodisiac.com\/2020\/03\/12\/city-of-angels-at-the-garrick-nearly-superb-production-of-a-nearly-great-show\/","title":{"rendered":"City of Angels at the Garrick: Nearly Superb Production of a Nearly Great Show"},"content":{"rendered":"\n

It\u2019s Theatre Thursday! Today\u2019s show is City of Angels, playing at London\u2019s Garrick Theatre after a transfer from the Donmar Warehouse.<\/em><\/p>\n\n\n

The 1989 musical City of Angels<\/em> may feel just like a 1940s noir film, but the intrigue and twists are all in cheeky good fun. And the new production in London\u2019s West End is definitely good fun. While the great Cy Coleman\u2019s score is less than great, this well directed, inventive production betters even the less exciting parts. The cast seems to delight in Larry Gelbart\u2019s funny, clever book, and it\u2019s all around a great time \u2013 if you have the right seat, in a theatre where at least half the seats are garbage.<\/p>\n

City of Angels <\/em>tells the story of a LA writer named Stine (a fantastic Hadley Fraser my goodness) who is working on the film adaptation of his acclaimed novel. As he writes in real life and deals with a wife he cheats on but it\u2019s NBD and a girl he has affairs with but it\u2019s NBD and a Hollywood producer who\u2019s an ass and it’s a BD, we also see the pages he\u2019s writing come to life, with his characters acting out the plot as Stine works on it (with hilarious effect when he deletes and redoes something). Despite being in his imagination, the characters in his story feel real, and the barrier between real life and fiction break down when Stine interacts with his leading man, Stone (a great Theo James, yes that one, such stage presence, very wow), in the most fun parts of this show.<\/p>\n

With this super clever, original premise comes tons of humor and creativity, and this production is probably the best we\u2019ll see of this show. The direction is almost flawless (see below) and everything feels purposeful. I never really call out the lighting in a show, but the lighting design here is everything. Stine\u2019s real Los Angeles life is lit in color, whereas the scenes from his script are mainly in black and white, an effect that was impressive as hell when both worlds would share the stage simultaneously, and extraordinary as Stone and Stine toy with the barrier between them. Those clashes between the two S men play out to pretty much the only big song in the show, \u201cYou\u2019re Nothing Without Me\u201d, overused a bit as it closes both acts but when it\u2019s the main theme as well as the only strong song for our leading men \u2013 and lets Fraser do his main job in this show, which is belting and holding big final notes to impress you and distract you and it works because man alive he is some shit \u2013 you can\u2019t fault that use too much.<\/p>\n

And yes, while the clever book mostly delights, the score somewhat pales in comparison. There are some strong songs in addition to the aforementioned, like Stine\u2019s wife\u2019s \u201cIt Needs Work\u201d, a clever almost patter sort of song that Rosalie Craig does brilliantly. (Craig only plays characters named Bobbi I guess now, and this underwritten one is as satisfying as the previous. (That sounds like a huge compliment since everyone and their mother loved the famous gender-flipped Company<\/em> but recall that I did not<\/span><\/em><\/a>.)) It shows off her acting ability fantastically, but like a lot of the score (save for Hadley\u2019s big belted notes) it doesn\u2019t allow for showing off vocal ability. The only real chance for that comes from Rebecca Trehearn\u2019s \u201cYou Can Always Count on Me\u201d. Accustomed to stealing shows, Trehearn\u2019s performance is a highlight.<\/p>\n

But there are also some duds that fail the \u2018does-this-need-to-be-a-song-and-if-not-is-it-at-least-worth-it\u2019 test. I don\u2019t even recall the underused Vanessa Williams (yes, that Vanessa Williams) singing, which is odd for someone who famously can sing well, but I know she did. (She also gets a cringeworthy line about \u2018saving the best for last\u2019. I cannot imagine that was in the original script, so the addition is so corny. But if it original, I will eat my words \u2013 but if it WAS is that why they cast her??? Honestly that would make me love everything about this production even more, that\u2019s some baller move for one stupid joke, and I respect that.) For a character as vibrant as Stine\u2019s producer, Jimmy Powers (a good Jonathan Slinger in a JK Simmons role) really should have stronger songs. And Bobbie\u2019s cabaret sections just seem awkward.<\/p>\n

Some of the performances left me cold as well. Nicola Roberts, from the pop group Girls Aloud, is not well suited to her one big song, which sounded like when our Kim McAfee in high school started rehearsal without warming up. And the Angel City 4, the ensemble that kind of narrates sometimes, and acts as a Greek chorus sometimes, and serves as the producer Jimmy Powers\u2019 backup singers sometimes, sounded insanely off key all the times. I was literally making Chrissy-Tiegen-at-the-Globes gif face whenever they sang, which is super rude, but I couldn\u2019t help it because holy wow those were some wrong ass notes! Fortunately, they don\u2019t ruin another strong number, Munoz\u2019s (Marc Elliott\u2019s) fun \u201cAll Ya Have to Do is Wait\u201d, although I don\u2019t think there was any Hispanic representation in this show which is bad when there are some real yikesy slurs used.<\/p>\n

All my endless raving about how well designed and directed this show is does actually have an end, though, and it\u2019s now: This show is staged for 40% of the audience. The Garrick has notoriously horrible sightlines from too many seats, and pillars blocking the view for many of the rest. Add in a narrower-seeming stalls and stage than most, a mezzanine overhang that seems to start at the stage, and a chaotic wackiness to the seating plan, and you\u2019ve got a recipe for disaster. That knowledge should make the director and crew more careful with what they are doing, but instead, here, they seemed to go \u2018you know what, fuck it, let\u2019s stage everything in that one top stage right corner even when it\u2019s completely unnecessary, just to be dicks about it.\u2019 There is so much happening at that spot that literally no one around us could see, and we had good seats. Given the overhang and sightlines, I am sure no one behind row M could see a good portion of the action, which is bullshit. If you\u2019re lucky enough to be in that 40%, you\u2019re going to have a phenomenal time. Otherwise, your resentment is going to color your experience, which is unfair both to you and this great production.<\/p>\n

<\/p>\n

INFORMATION<\/u><\/strong><\/p>\n

For a 7:30 curtain, Act I ended at 9pm and the show ended at 10:28, which is about 15 minutes longer than it should be; there were issues at front of house before starting. Yes I really had to pee.<\/p>\n

The Garrick Theatre is another stalls-in-the-basement one, so if you want to be at street level, sit in the circle. Also, the ladies bathrooms for the house left side of the stalls are upstairs anyway.<\/p>\n

It is one of the smokiest shows in London right now, which is saying something since creators really love to keep those with respiratory problems and asthma away. Even for a 1940s noir show, smoking added nothing to the ambience they created with lights, performances, costumes, and sets. I am still waiting for someone to defend the use of smoking in the theatre to me.<\/p>\n

The show is running until September 5, but the cast is changing several times (names this starry don\u2019t do long runs anymore I guess).<\/p>\n

STAGEDOOR<\/u><\/strong><\/p>\n

Everyone but Trehearn ran or snuck out a different entrance (as is their right yes but darn). The setup is nonexistent, so expect a mosh pit on the busiest sidewalk in London and a guard who doesn\u2019t receive any information.<\/p>","protected":false},"excerpt":{"rendered":"

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Today\u2019s show is City of Angels, playing at London\u2019s Garrick Theatre after a transfer from the Donmar Warehouse. 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