City of Angels
at North Broward Preparatory School

Reviewed on October 18, 2019

Roie Dahan
American Heritage School
Submitted for publication to Florida Theater On Stage

The place? North Broward Preparatory School. The time? 1940's Hollywood. The subject? The exuberant musical "City of Angels." Grab some popcorn and find a seat because this picturesque show was a hit!



With a book by Larry Gelbart, music by Cy Coleman, and lyrics by David Zippel, "City of Angels" depicts the two-sided story of a mystery noir film accompanied by its struggling writer trying to keep control of his words amidst the glitz and glamour of Golden Age Hollywood. It premiered on Broadway in 1989 and won six Tony awards before transferring to the West End and West End tour. This show illustrates the behind-the-scenes of what happens in Tinseltown through two hours of laughter, song, and dance.



Evan Laufman captured the character of Stone, the charismatic detective, impeccably, reflecting the stereotypical noir private eye through his compelling characterization choices. Stone's counterpart Stine, the timid yet ambitious novelist, was superbly played by Luke Di Liddo with his exemplary clean vocals and innocuous presence. When the two came together, their dynamic created a mighty force, most notably in "You're Nothing Without Me". Laufman's character-infused portrayal complemented Di Liddo's astounding vocal work perfectly to create a true powerhouse.


Playing Oolie and Donna, Natalie Langnas' exceptional comedic timing and expressive facials played into both her characters commendably. Her robust vocal styling and commitment to character were righteously displayed through her solos "You Can Always Count on Me." Madeline Finkelman, playing Gabby and Bobbi, dazzled audiences with her stunning voice and acting capabilities. Langnas and Finkelman brought the house down with their intertwined vocalization and powerful motivations in their duet "What You Don't Know About Women." Munoz, played by Daniel Haubner, rarely failed to get a laugh because of his perfectly timed comedy and overall humorous demeanor. Juliana Castillo executed her role as Mallory Kingsley stunningly, sporting intense vocal power and commitment in her song "Lost and Found," and brought Avril Raines to life with her hilariously loopy disposition. The overall chemistry the cast had with one another electrified and elevated the entire performance.



The production's ensemble admirably complemented the show's over the top hilarity. Lacking bright facials and energy intermittently at times, they were nevertheless able to capture the essence of the show's joviality and Broadwayesque style. A standout amidst the ensemble, The Angel City 6, despite some members carrying more than others, charmed audiences with their luscious harmonies and upbeat scatting. Although it did not translate as strongly off the stage, the hair and makeup team did an ample job of emulating the period's style with its bold cherry lips and updos. The marketing and publicity team got the word out through inventive techniques like ticket giveaways and a social media page.



With its numerous unforgettable characters, vivacious musical numbers and comical plotline, it was hard not to fall in love with North Broward Preparatory School's production of "City of Angels."

Eva Daskos
The Sagemont School
Submitted for publication to Florida Theater On Stage

In 1940s Los Angeles, it's easy to get swept away in the glamour of Hollywood, while the hard crimes of the city get swept under the rug. What lies behind the starry eyes of every high-class lady? Murder? Love? Maybe it's an unsatisfied author who thinks it's all too cliché? Find out this and more in North Broward Preparatory school's production of "City of Angels"!

It's another colorless day in the life of Stone, a hard detective who's looking for his next case, while the author writing his story, the exasperated Stine, is just looking for some creative freedom on his detective script. Stone and Stine represent the two worlds City of Angels creates, one the 1940s crime ridden black and white streets of LA, the other the bustling world of film production-where the biggest criminal Stine has to face is his boss, who's more concerned with money than if Stine's script has any substance. This show within a show is critically acclaimed with award winning music by Cy Coleman, and lyrics by David Zippel.

Stone, played by Evan Laufman, never broke his confident aura onstage. Stone's hardened personality and wild, bloodshot, private eyes were always present in Laufman's performance. Even while playing an older character, Laufman made a change in his own maturity with simple mannerisms and physicality, as well as a smooth deep voice that is iconic to film noir and perfectly fit Stone. Laufman consistently had strong chemistry with other performers as his character dodged in and out of relationships-as well as dodging bullets.

Stone's life may be full of adventure, but that's only due to Stine's big ideas that his boss, Buddy Fidler, keeps shooting down. The cocky director Buddy Fidler was brought to life by Dylan Jost. who used this outrageous role to his advantage by making the most of Buddy's time onstage with exemplary comedic timing and use of a hilarious pompous attitude. Meanwhile in Stone's world, he's shot down by the vixen club singer Bobbi. Madeline Finkelman as Bobbi served the jazzy sounds of the 1940s justice as her powerful voice hit every note and never faltered. Luke Di Liddo as Stine also gave a vocally compelling performance, translating David Zippel's lyrics with power and vocal technique.

The publicity team of "City of Angels" used inventive marketing strategies in their spirted campaign for the show. Marketing and Publicity by Natalie Langnas & Company made fantastic use of the musical's movie-making plot, planning creative events to publicize their show, including a movie trivia night that awarded the winner a free ticket to this standout production. Hair and Makeup by Christina McCabe and Company outlined the faces of actors well onstage, but was overly simple for the Hollywood theme they proposed.

North Broward Preparatory School's production of City of Angels managed to create two compelling storylines on one stage, this standout production will prove the two worlds of story and author are nothing without each other!

Alex Scaff
The Sagemont School
Submitted for publication to Florida Theater On Stage

The lights flare, a cigarette is lit, and the smooth jazz slowly sets in. Black and white graces your eyes and it feels as if you've traveled back to the 40s. In walks the private eye sending us on a sprawling story in a world now forgotten - film noir. Behind every story, however, is a writer trying to get his big break, and both the writer and his noir reflection captivate the stage in North Broward Preparatory School's dazzling production of "City of Angels".

As an homage to the elegant noir era of the 1940s, "City of Angels" tells the dual tale of Detective Stone's suspenseful case contrasting the writer Stine, master of that fictional world. The duality between Stine and Stone's world propels this 1989 Broadway show, written by Larry Gelbert, to fantastical heights. One finds themselves lost in the world that Stine and Stone inhabit, along with the rowdy cast of supporting characters that make the world feel alive. Along with suspenseful writing, the original musical had a mesmerizing score by Cy Coleman and lyrics by David Zippel.

As the gritty Detective Stone finding his place in the world, Evan Laufman transforms the stage into a stylish detective's office of the past. His diction, almost perfectly capturing the caricature of a 40s New Yorker, really helped sell his performance. While not the complete center of the narrative, Laufman seized any opportunity he had to mesmerize and convince all that the film noir world was much more than simply fiction. Apart from nailing the caricature, the moments when Laufman had to show off his vocalizations demonstrated truly how perfect of a "Stone" he was for his production.

Just as Cy Coleman and David Zippel's music shined in the original Broadway debut, the musical aspects of this show are the heart of both narratives. As captivating as Laufman himself, Luke Di Liddo's performance as writer Stine delighted all. Di Liddo's singing was awe inspiring and left lasting impressions on any fortunate enough to listen. Other members of the company, such as Madeline Finkelman and Daniel Haubner, both had some of the most memorable numbers in the entire production.

While the parallelism in the narrative was sometimes confusing, the cast's ambitions must be commended. Along with this, for a musical known for its inspired lyrics and melodies, the ensemble at times seemed a bit lifeless, yet their costuming and makeup kept the film noir style thriving. The musical strengths of this play were strongest during Stone and Stine's joint duet of "You're Nothing Without Me," where the two young men's chemistry truly shined. While sound was sometimes unclear, it was very clear how much effort was done behind the scenes through marketing and makeup to truly make an exciting and era-appropriate production.

As daunting a task as it may be to put on a production focused on a "play within a play," North Broward Preparatory's delightful and stylish production of "City of Angels" brought drama, intrigue, and much more.

Tai Beasley
Coral Glades High School
Submitted for publication to Florida Theater On Stage

Jazz, love, and murder always makes for a cinematic masterpiece! North Broward Preparatory School's enthralling performance of City of Angels did just that, unveiling the saucy and villainous film industry with a gripping story of two parallels.

With music by Cy Coleman, lyrics by David Zippel, and book by Larry Gelbart, this musical comedy interlaces two storylines: the artistic struggle of Hollywood novelist Stine trying to bring his story to the big screen, and the fictional world which his writing births. Stine finds himself caught in the temptations of Los Angeles, and realizes that the promise of fame, lust of women, and pressure of unrelenting compromises cannot live in harmony with his truth. Meanwhile, his fictional parallel, detective Stone, tries to solve a case of a missing girl, with hell to pay. Paying homage to the alluring film noir genre of 1940s motion pictures, this musical separates the two plots with bright color, and the absence of it. City of Angels opened on Broadway in 1889, closing with nearly 900 performances. The musical also took to the West End stage in 1993 and the Revival in 2014, winning several awards, including the Tony Award for Best Musical, and an Olivier Award for Best Musical Revival.

Leading men Luke Di Liddo (Stine) and Evan Laufman (Stone), exceeded expectations in their seamless character portrayal. Di Liddo completely embodied his role with detailed physicality and inflection, and successfully depicted his character arc from timid to undaunted. Laufman created a charismatic and bold character with seductive facial expressions and diction. Their chemistry and vocals shook the house with "You're Nothing Without Me".

Lead actresses Madeline Finkelman (Gabby/Bobbi), Natalie Langnas (Donna/Oolie), and Skylar Minett (Carla Haywood/ Alaura Kinglsey) fabulously brought their dual characters to life. Finkelman's sultry vocals never faltered, especially in "With Every Breath I take". Langnas added humor and zest to each of her characters, and fostered perfect duality in "What You Don't Know About Women". Minett sold her character with sassy facials and strong physicality.

The multifunctional set created depth to the story, while the use of various colored lighting enhanced the performance and helped separate the real world from fiction in a captivating way. Publicity for the show was incredibly done, with unique and inclusive methods of marketing. Makeup and hair were to time period and brought the characters to life. The ensembles added great energy to the plot. Although sound issues were prevalent and set changes could have been more efficient, the actors and crew did a commendable job in creating a great performance.

A round of applause is greatly deserved for North Broward Preparatory School's beautiful rendition of City of Angels, for showing us that fame is nothing if you lose yourself to achieve it.

Alan Halaly
Deerfield Beach High School
Submitted for publication to Florida Theater On Stage

Bathed in blue light, a renowned screenwriter named Stine tirelessly taps away on his typewriter deep into the night. His fingers dance across the keys, creating a fictitious technicolor world where he lives vicariously through film noir characters and only he controls the narrative. Navigating his own infidelity and an authoritarian and sleazy boss, he creates characters that reflect the people he interacts with on a daily basis. As Stine struggles to mesh fiction and reality in North Broward Preparatory School's production of "City of Angels", a narrative of mystery, glamour, jazz, and seduction emerges.

This musical premiered to commercial success in 1989, winning the Tony Awards for Best Musical and Best Book of a Musical, among four others. It then transferred to the West End in 2014, earning five Olivier Award nominations. The audience is also drawn into the plot of Stine's fiction, as 1940's private-eye detective Stone is asked to find Mallory, the missing stepdaughter of the alluring Alaura Kingsley. Both protagonists run into trouble as Lt. Munoz is on Stone's case, and Stine is unfaithful to his wife and is being forced to ruin his script. In the end, Stine and Stone save each other the messes of their own making, affirming that they inherently coalesce.

The leading men of this show took on their roles with ease. Stone, played by Evan Laufman, perfectly encapsulated the mannerisms and quirks of the film noir era, complete with the iconic accent and magnetic personality. Luke Di Liddo as Stine presented a compelling character arc with particularly magnificent vocal styling. The two presented a well-executed balance between who Stine was and who he wanted to be, apparent in their duet "You're Nothing Without Me".

Many actors and actresses were tasked with playing two roles, one in Stine's reality and the other in his fiction. Perhaps the most impressive dual role was that of Natalie Lagnas as Oolie and Donna, who was even tasked with playing the two characters in the same song "You Can Always Count on Me", a challenge that she rose to without difficulty. Madeline Finkelman also successfully played two distinct roles, shining in vocally-demanding numbers with her outstanding vocal talent. While the quality of the vocals were at a high standard throughout the show, at times some actors faltered in matching their performances with strong physicality necessary in many of these roles.

The most impressive technical feature of the show was the lighting, creating a clear distinction between Stine's black-and-white film and his reality. Oftentimes the fight choreography left something to be desired, bolstering the believably of some intense scenes. Additionally, the marketing and publicity team executed a remarkable pre-show campaign, as evidenced by the absence of any free seats in their theatre.

North Broward Preparatory School's production worked smoothly and effortlessly with dedicated actors and technicians, working through the challenge of this show with diligence. With over-the-top, histrionic numbers to sincere duets, the show enchanted audiences, made them laugh, and most importantly, made them think.