Archetypes are tricky. To employ them in a work of fiction is to walk the razor-thin line that separates revelation from cliché.
Musical comedy, however, is a genre renowned for its schmaltzy, self-conscious glibness: it prefers to leap off the tightrope altogether, to waltz and wallow on the cliché side.
Witness “City of Angels,” the 1989 musical now playing now at USM. It’s one of the most self-referential farces you’ll ever have the pleasure of witnessing; it’s simultaneously a fawning love letter and a jeering missive, aimed squarely at both Hollywood and the creative process in general.
“City of Angels” seems like a musical romp to the audience, but it is a difficult text to navigate for its cast and crew.
The first task is in evoking a bygone era.
“The biggest challenge was getting the actors to embody that expressive, 1940s theatrical style,” said the show’s director, USM theater faculty member Wil Kilroy.