City Of Angels
Music by: Cy Coleman
Lyrics by: David Zippel
Directed by: Zoltan Spirandelli & David Gravenhorst
Musical Staging by: Ann Mandrella
Book by: Larry Gelbart
November 22nd 1997 - ?
Theater Krefeld
Krefeld, Germany
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Act 1
The Overture ends to the sound of gunshots as the lights rise on a hospital gurney and the body of black and white movie hero, Stone, a private detective. Two orderlies discuss his chances as the scene flashes back to Stone’s Outer Office where his secretary Oolie is busy quoting rates to a potential customer. Stone enters his private office and speaks Dashel Hammett style about L.A. in a narrative detective voice. He is interrupted by Oolie who informs him that a very wealthy, potential customer, Alaura Villiers, is here to see him. Stone looks her over and continues (detective style) describing his thoughts about this gorgeous woman. Stone and Alaura switch between song and dialogue in an attempt to psych the other out: Double Talk. Stone agrees to the job and takes Alaura's check as he escorts her out the door.
The lights rise on fiction writer, Stine, who is typing at his desk. He x's out the last bit of comments between Oolie and Stone as the action moves in reverse; the goodbye to Alaura is rewritten and the action moves forward with new dialogue. This happens several times until the phone rings and Stine gives up writing to answer it as the lights fade on Stone and Oolie.
The lights come up on movie mogul, producer Buddy Fidler’s office. Buddy introduces himself in song and tells Stine he wants a re-write. Stine, who is new in Hollywood and to writing for film, agrees to Buddy’s request: Double Talk. Stine resumes typing which "activates" Stone and Oolie, who are looking at Alaura's check. Stone sends Oolie off to cash the check and Stine goes to his hotel bedroom where his wife, Gabby, is packing to return to her editing job in New York.
He wants her to stay but she refuses and hopes that he will wake up to the reality of Hollywood and the fact that he is focusing on the dollars he can get from the movie industry rather than refining his craft. A studio car arrives to take him to Buddy’s for a meeting and a screening and Gabby reminds him that she caught him cheating the last time and will probably find out if he attempts it again.
He promises to be faithful and exits his room as Stone exits from his office. The two women are left onstage in parallel positions. Oolie is in Stone’s office and Gabby continues to pack: What You Don’t Know About Women. The scene ends as the two exit their respective locations and slam the doors.
The scene shifts to Stone's bungalow where a radio is heard. Stone enters from his offstage bathroom and describes the situation in detective narrative form. There is a knock at the door and, when Stone tells the knock to go away, the door crashes in and two thugs beat him up. The radio is turned up louder and the focus shifts to the radio station set where the Angel City 4 and Jimmy Powers are singing, Ya Gotta Look Out For Yourself. The thugs finish with Stone and steal his radio, which abruptly ends the song. They leave Stone on his bed.
Stine enters Buddy's office and Buddy tells him that he loves his work, but it needs fixing. He explains the movie business as painting with pictures more than words The friendly advice turns into forceful advice as he tells him that no one says no to Buddy: The Buddy System.
In Stone's bungalow, Lt. Munoz, a plain-clothes detective, eyes the unconscious Stone as he assures Oolie that things will be O.K. His assistant, Pasco, a uniformed cop, revives Stone with a glass of water in his face. It is obvious that Stone is not going to cooperate with the police, which means to Lt. Munoz that there is a dame involved. Stone's words are heard in narrative form, agreeing with Munoz, especially where his ex girlfriend Bobbi is concerned.
Flashback as the lights rise on a cocktail lounge where Bobbi Edwards is singing, With Every Breath I Take. Stone and Munoz, as young police officers, enter. Stone proposes to her, but Bobbi wants a career in the films. She is certain that she will be discovered by producer Irwin S. Irving. Stone, in narrator style, stops by Bobbi's dressing room to discover that she is "involved" with Irwin S. Iving. There is a three way scuffle in the darkened room and three gunshots ring out as the lights rise on Stine's office where the writer is on the phone to his wife Gabby in New York, hoping she is missing him as much as he misses her. He returns to his typewriter. Oolie is at a pay phone informing Stone that she has cashed the check and obtained the address of Alaura Kingsley.
At the Kingsley mansion, Alaura is being massaged by her son-in-law Peter when Stone enters with a bandaged face to return her deposit. Instead of taking back the money, she takes him in to meet her husband as Stone introduces Luther Kingsley, a plane and tank manufacturer of World War II, detective narrative style.
In the Kingsley Solarium, Luther Kingsley is in an iron lung, being wheeled in by Dr. Mandril, a spiritual therapist. Mandril tells Stone that Kingsley always gets his way and gives him $10,000 to find Mallory, his daughter. They exit as Alaura vamps StoneTennis Song.
The search is on for Mallory and Stone is accompanied by the Angel City 4 as he looks for her. The lyrics of the song specify the location and the action, Ev'rybody's Gotta Be Somewhere, but Stone has no luck and heads for home.
In Stone's bungalow it is very dark and shadowy. Stone sees movement under the sheet on the bed and, with gun drawn, he removes the sheet to discover a very cheerful, scantily, or not at all, clad Mallory. The Angel City 4 finish the lyric of the song: Ev'rybody's Gotta Be Somewhere. Stone narrates as Mallory assures him she has indeed been found: Lost And Found.
In Donna's bedroom, Donna is tying Stine's tie. She tells him that she knows that he loves his wife and he admits it. She invites him to spend the night, but he has to call his wife in New York. He confesses that his characters lead him to his actions and, right now, Stone’s moral side is telling him to leave.
Back at Stone's bungalow, Mallory forces Stone into a compromising situation as a photographer enters and takes their picture together. Stone runs out after the photographer and Mallory steals Stones revolver and rushes off.
Again we flashback to the morgue where Irwin S. Irving, who has been killed by two bullets, lies. The movie press agent is ignoring the facts and creating an innocent Hollywood announcement that Irving died in his sleep. Young policeman Stone enters to give his badge to the Police Commissioner, who exits.
Bobbi urges Stone to forget her and the audience gets the idea that Bobbi committed the crime and Stone is taking the fall. She sadly leaves and he vows never to forget her. An angry Policeman Munoz enters to tell Stone that he didn't deserve to get away with murder and if Munoz, a non gringo, had killed anyone he would fry for it. He warns Stone that he is following him and will get his revenge, so Stone better watch himself and not slip up.
Back in the present, Buddy is on a massage table telling Stine that he doesn't want the morgue scene in the movie, as it is too full of social injustice. He insists on another rewrite.
The morgue is newly written with Dr. Mandril as the deceased. Munoz brings Stone in for questioning, All You Have To Do Is Wait, and Stone denies that he had anything to do with Mandril’s death. He says that he was obviously framed. Munoz begins to talk about Stone being a non gringo and we see Stine xxxing out the sentence as the flashback begins. Stine inserts a fresh sheet of paper and starts to type. The dialogue begins, but Stone steps out of the scene and asks Stine if he is really going to do what Buddy wanted. The two argue: You’re Nothing Without Me. The lights fade as Stine finishes the song in triumph, proving that he controls Stone and the script.
Act 2The lights rise on fiction writer, Stine, who is typing at his desk. He x's out the last bit of comments between Oolie and Stone as the action moves in reverse; the goodbye to Alaura is rewritten and the action moves forward with new dialogue. This happens several times until the phone rings and Stine gives up writing to answer it as the lights fade on Stone and Oolie.
The lights come up on movie mogul, producer Buddy Fidler’s office. Buddy introduces himself in song and tells Stine he wants a re-write. Stine, who is new in Hollywood and to writing for film, agrees to Buddy’s request: Double Talk. Stine resumes typing which "activates" Stone and Oolie, who are looking at Alaura's check. Stone sends Oolie off to cash the check and Stine goes to his hotel bedroom where his wife, Gabby, is packing to return to her editing job in New York.
He wants her to stay but she refuses and hopes that he will wake up to the reality of Hollywood and the fact that he is focusing on the dollars he can get from the movie industry rather than refining his craft. A studio car arrives to take him to Buddy’s for a meeting and a screening and Gabby reminds him that she caught him cheating the last time and will probably find out if he attempts it again.
He promises to be faithful and exits his room as Stone exits from his office. The two women are left onstage in parallel positions. Oolie is in Stone’s office and Gabby continues to pack: What You Don’t Know About Women. The scene ends as the two exit their respective locations and slam the doors.
The scene shifts to Stone's bungalow where a radio is heard. Stone enters from his offstage bathroom and describes the situation in detective narrative form. There is a knock at the door and, when Stone tells the knock to go away, the door crashes in and two thugs beat him up. The radio is turned up louder and the focus shifts to the radio station set where the Angel City 4 and Jimmy Powers are singing, Ya Gotta Look Out For Yourself. The thugs finish with Stone and steal his radio, which abruptly ends the song. They leave Stone on his bed.
Stine enters Buddy's office and Buddy tells him that he loves his work, but it needs fixing. He explains the movie business as painting with pictures more than words The friendly advice turns into forceful advice as he tells him that no one says no to Buddy: The Buddy System.
In Stone's bungalow, Lt. Munoz, a plain-clothes detective, eyes the unconscious Stone as he assures Oolie that things will be O.K. His assistant, Pasco, a uniformed cop, revives Stone with a glass of water in his face. It is obvious that Stone is not going to cooperate with the police, which means to Lt. Munoz that there is a dame involved. Stone's words are heard in narrative form, agreeing with Munoz, especially where his ex girlfriend Bobbi is concerned.
Flashback as the lights rise on a cocktail lounge where Bobbi Edwards is singing, With Every Breath I Take. Stone and Munoz, as young police officers, enter. Stone proposes to her, but Bobbi wants a career in the films. She is certain that she will be discovered by producer Irwin S. Irving. Stone, in narrator style, stops by Bobbi's dressing room to discover that she is "involved" with Irwin S. Iving. There is a three way scuffle in the darkened room and three gunshots ring out as the lights rise on Stine's office where the writer is on the phone to his wife Gabby in New York, hoping she is missing him as much as he misses her. He returns to his typewriter. Oolie is at a pay phone informing Stone that she has cashed the check and obtained the address of Alaura Kingsley.
At the Kingsley mansion, Alaura is being massaged by her son-in-law Peter when Stone enters with a bandaged face to return her deposit. Instead of taking back the money, she takes him in to meet her husband as Stone introduces Luther Kingsley, a plane and tank manufacturer of World War II, detective narrative style.
In the Kingsley Solarium, Luther Kingsley is in an iron lung, being wheeled in by Dr. Mandril, a spiritual therapist. Mandril tells Stone that Kingsley always gets his way and gives him $10,000 to find Mallory, his daughter. They exit as Alaura vamps StoneTennis Song.
The search is on for Mallory and Stone is accompanied by the Angel City 4 as he looks for her. The lyrics of the song specify the location and the action, Ev'rybody's Gotta Be Somewhere, but Stone has no luck and heads for home.
In Stone's bungalow it is very dark and shadowy. Stone sees movement under the sheet on the bed and, with gun drawn, he removes the sheet to discover a very cheerful, scantily, or not at all, clad Mallory. The Angel City 4 finish the lyric of the song: Ev'rybody's Gotta Be Somewhere. Stone narrates as Mallory assures him she has indeed been found: Lost And Found.
In Donna's bedroom, Donna is tying Stine's tie. She tells him that she knows that he loves his wife and he admits it. She invites him to spend the night, but he has to call his wife in New York. He confesses that his characters lead him to his actions and, right now, Stone’s moral side is telling him to leave.
Back at Stone's bungalow, Mallory forces Stone into a compromising situation as a photographer enters and takes their picture together. Stone runs out after the photographer and Mallory steals Stones revolver and rushes off.
Again we flashback to the morgue where Irwin S. Irving, who has been killed by two bullets, lies. The movie press agent is ignoring the facts and creating an innocent Hollywood announcement that Irving died in his sleep. Young policeman Stone enters to give his badge to the Police Commissioner, who exits.
Bobbi urges Stone to forget her and the audience gets the idea that Bobbi committed the crime and Stone is taking the fall. She sadly leaves and he vows never to forget her. An angry Policeman Munoz enters to tell Stone that he didn't deserve to get away with murder and if Munoz, a non gringo, had killed anyone he would fry for it. He warns Stone that he is following him and will get his revenge, so Stone better watch himself and not slip up.
Back in the present, Buddy is on a massage table telling Stine that he doesn't want the morgue scene in the movie, as it is too full of social injustice. He insists on another rewrite.
The morgue is newly written with Dr. Mandril as the deceased. Munoz brings Stone in for questioning, All You Have To Do Is Wait, and Stone denies that he had anything to do with Mandril’s death. He says that he was obviously framed. Munoz begins to talk about Stone being a non gringo and we see Stine xxxing out the sentence as the flashback begins. Stine inserts a fresh sheet of paper and starts to type. The dialogue begins, but Stone steps out of the scene and asks Stine if he is really going to do what Buddy wanted. The two argue: You’re Nothing Without Me. The lights fade as Stine finishes the song in triumph, proving that he controls Stone and the script.
At the opening of Act II, we are in a recording studio where Jimmy and the Angel City 4 sing to set the mood: Stay With Me. There is a blackout as the scene shifts to Buddy’s wife, actress Carla Haywood, who will play the part of Alaura. She is reading the script and has a few suggestions of her own.
Oolie arrives at the jail with a raincoat over her nightgown. It is the middle of the night and Stone needs Oolie to find out who set him up. She returns home wondering why she is always being taken in by the wrong kind of guy: You Can Always Count On Me.
The lights come up on Donna's bedroom where Donna wakes up and assures Stine that his writing is good, but he feels he has "settled." It isn't good enough for his wife and Donna tells him that no matter who he goes to bed with he always wakes up thinking of his wife: You Can Always Count On Me. Stine reenters the scene, ready for the typical "Hollywood" party and throws her his key, since she won’t be there. He exits as she ends the song.
Songwriter Del DaCosta is at the piano at Buddy's party. Stine is in Buddy's study talking to Gabby who has just discovered that there is a woman waiting for him in his hotel room. He tries to explain but she hangs up.
Stone has been bailed out of jail, much to Munoz's anger and, as he leaves, the lights return to Stine, who is trying to call Gabby. He gives up as Avril Raines, a very sexy starlet who is to play Mallory Kingsley in the film, appears. She vamps him, but is interrupted by Buddy's wife, Carla, who tells Avril it's time to leave Stine. She and Stine discuss Stone’s plight as the scene shifts to Stone, who is tied up by Big 6 and his henchman. It looks as if Stone will meet his maker, but Stine shows what will happen and we see Stone escape.
The scene shifts to Alaura Kingsley's where she confesses to Stone that it was her stepson who hatched the plot. They embrace as the scene cuts. We discover that Stine has gone to New York to straighten things out with Gabby. In their New York apartment, she tells him that he should write a Hollywood ending for them. He tries unsuccessfully to tell why Donna was in his room, but Gabby tells him he must do better to make the story believable: It Needs Work. She yearns for the old Stine, who had talent and integrity. At the end of the number she hands him his suitcase.
At a Los Angeles brothel Stone greets Madam Margie. He is looking for Peter Kingsley, but she invites him in and he discovers none other than Bobbi, the girl he could never forget. She confesses that she told Peter Kingsley the truth, that she was the one who pulled the trigger, not Stone. Stone and Bobbi tell each other that they are always in their hearts and thoughts: With Every Breath I Take (Reprise).
Later, Stone is at a phone booth and Oolie tells him that Peter Kingsley should be at the Kingsley House. The scene shifts to Alaura hand feeding Luther in his iron lung. Stone arrives to tell Luther that his wife Alaura has killed before and, through twists and turns, Mallory and Peter arrive on the scene as Alaura and Stone fight for the gun. Three shots ring out as Stone falls to the floor and Alaura looks victorious until we see blood at her heart. The lights iris out.
Stine is in his office reading the movie script to Donna. He finally realizes that she has also been rewriting his words and comments on the comic opera of his life: Funny.
On the studio sound stage, chaos is raging as everyone prepares to shoot the final scene in the Kingsley solarium. Stine has lost all control of the script and is appalled when Jimmy Powers, the crooner, enters to play the part of Stone. Stone agrees with Stine and the two watch as the cameras roll and Jimmy Powers attempts to be the typical private eye. Stine tells them to stop the cameras as Buddy calls for the studio security guard. He gives up the rights to the script in order to return to writing good solid fiction. Stine and Stone freeze the action of the picture and joyously sing, I'm Nothing Without You. Gabby arrives and the three triumphantly extol the fact that they are all together.
(Taken from Musical Notes, by Carol Lucha-Burns)Oolie arrives at the jail with a raincoat over her nightgown. It is the middle of the night and Stone needs Oolie to find out who set him up. She returns home wondering why she is always being taken in by the wrong kind of guy: You Can Always Count On Me.
The lights come up on Donna's bedroom where Donna wakes up and assures Stine that his writing is good, but he feels he has "settled." It isn't good enough for his wife and Donna tells him that no matter who he goes to bed with he always wakes up thinking of his wife: You Can Always Count On Me. Stine reenters the scene, ready for the typical "Hollywood" party and throws her his key, since she won’t be there. He exits as she ends the song.
Songwriter Del DaCosta is at the piano at Buddy's party. Stine is in Buddy's study talking to Gabby who has just discovered that there is a woman waiting for him in his hotel room. He tries to explain but she hangs up.
Stone has been bailed out of jail, much to Munoz's anger and, as he leaves, the lights return to Stine, who is trying to call Gabby. He gives up as Avril Raines, a very sexy starlet who is to play Mallory Kingsley in the film, appears. She vamps him, but is interrupted by Buddy's wife, Carla, who tells Avril it's time to leave Stine. She and Stine discuss Stone’s plight as the scene shifts to Stone, who is tied up by Big 6 and his henchman. It looks as if Stone will meet his maker, but Stine shows what will happen and we see Stone escape.
The scene shifts to Alaura Kingsley's where she confesses to Stone that it was her stepson who hatched the plot. They embrace as the scene cuts. We discover that Stine has gone to New York to straighten things out with Gabby. In their New York apartment, she tells him that he should write a Hollywood ending for them. He tries unsuccessfully to tell why Donna was in his room, but Gabby tells him he must do better to make the story believable: It Needs Work. She yearns for the old Stine, who had talent and integrity. At the end of the number she hands him his suitcase.
At a Los Angeles brothel Stone greets Madam Margie. He is looking for Peter Kingsley, but she invites him in and he discovers none other than Bobbi, the girl he could never forget. She confesses that she told Peter Kingsley the truth, that she was the one who pulled the trigger, not Stone. Stone and Bobbi tell each other that they are always in their hearts and thoughts: With Every Breath I Take (Reprise).
Later, Stone is at a phone booth and Oolie tells him that Peter Kingsley should be at the Kingsley House. The scene shifts to Alaura hand feeding Luther in his iron lung. Stone arrives to tell Luther that his wife Alaura has killed before and, through twists and turns, Mallory and Peter arrive on the scene as Alaura and Stone fight for the gun. Three shots ring out as Stone falls to the floor and Alaura looks victorious until we see blood at her heart. The lights iris out.
Stine is in his office reading the movie script to Donna. He finally realizes that she has also been rewriting his words and comments on the comic opera of his life: Funny.
On the studio sound stage, chaos is raging as everyone prepares to shoot the final scene in the Kingsley solarium. Stine has lost all control of the script and is appalled when Jimmy Powers, the crooner, enters to play the part of Stone. Stone agrees with Stine and the two watch as the cameras roll and Jimmy Powers attempts to be the typical private eye. Stine tells them to stop the cameras as Buddy calls for the studio security guard. He gives up the rights to the script in order to return to writing good solid fiction. Stine and Stone freeze the action of the picture and joyously sing, I'm Nothing Without You. Gabby arrives and the three triumphantly extol the fact that they are all together.
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