Comments, anyone?

 I would like to take this opportunity to remind readers that I enjoy hearing from you. A few of you have been sending your remarks directly to my email address. That’s fine, but the other readers don’t get to see those. It’s really very easy to add a comment to a review. On the info line immediately following every review, you will see the word “comments” or “no comments.” Click on whichever one you see and it will open a box for you to write your comment in. Below the box, it says “Comment as.”  For some technical reason that I don’t understand, you should select “Anonymous.” If you want to identify yourself, add your name to the comment itself. Then hit “Publish” and you’re done. I look forward to hearing from more of you.

Flying Over Sunset

C

When I first read that James Lapine (Falsettos, Into the Woods, Sunday in the Park with George) had written the book for a Broadway musical about an LSD trip shared by Aldous Huxley (Harry Hadden-Payton; My Fair Lady), Clare Booth Luce (Carmen Cusack; Bright Star, Carrie) and Cary Grant (Tony Yazbeck; On the Town, Prince of Broadway), I thought it was a joke. When I learned that it was really true, I didn’t know whether to admire the producers for their bravery or pity them for their foolishness. I was encouraged that Lapine engaged Tom Kitt (Next to Normal, If/Then) to write the music and Michael Korie (Grey Gardens, War Paint) to write the lyrics. Regular readers of this blog know that, as a rule, I don’t think people should direct their own material because they are too close to it to be objective. Therefore, an alarm went off when I read that Lapine would also direct. It was with a mixture of curiosity and apprehension that I arrived at the theater today. I really hoped that something so far outside the box might succeed. Alas, it does not. Although there is much to admire —some fine performances, some glorious singing, a few satisfying scenes, clever choreography that incorporates tap, and spectacular sets and projections, its elements do not cohere and it ultimately adds up to very little. Nothing we learn about the three celebrities is that interesting. The back story of their LSD guide Gerald Heard (Robert Sella; Sylvia, Verité) is virtually ignored. The music and lyrics were disappointing. When it finally ended after 2 3/4 hours, I had to wonder what was the point. The four leads strive mightily to create full-blown characters. The other six cast members (Kanisha Marie Feliciano, Nepal Joshi, Emily Pynenburg, Michele Ragusa, Laura Shop and Atticus Ware) are all strong. At only 13, Ware has the presence of a Broadway veteran; his tap dance number with Yazbeck is one of the show’s highlights. Unfortunately, it is also one of the numbers that, while entertaining by themselves, do not advance the book or develop the characters. If I had to pick the people who come off best, it would be Beowulf Boritt (Act One, Sunday in the Park with George) for his amazing sets, 59 Productions (Oslo, An American in Paris) for their beautiful projections, and Michelle Dorrance, in her Broadway debut, for her innovative percussive choreography. I am not sorry that I saw it and salute Lincoln Center Theater for taking a chance on something so unconventional. However, my prevailing reaction is disappointment.

Selling Kabul

B+

In her timely, gripping new drama at Playwrights Horizons, Sylvia Khoury (Power Strip) demonstrates great skill in building and maintaining enough tension to keep you on the edge of your seat for much of the play. She further shows a remarkable ability to capture the workings of an entire society by focusing tightly on the life of one family. It is 2013 and the U.S. is drastically reducing its forces in Afghanistan, allowing the Taliban to strengthen their grip on Kabul. They are determined to find and punish all Afghanis who aided the U.S. including those who worked as translators such as our protagonist Taroon (Dario Ladani Sanchez). We meet him after he has been in hiding in the apartment of his sister Afiya (Marian Neshat; Queens) for over four months awaiting the U.S. visa that he had been promised. Interestingly he is portrayed as reckless, selfish and shortsighted rather than as a sympathetic hero. His wife is giving birth to their first child, but it is not safe for him to visit the hospital. In an ironic twist, Afiya’s husband Jawid (Mattico David; Noura) runs a shop making uniforms for the Taliban and she assists by sewing some of them at home. Afiya has been avoiding all social contacts including her neighbor Leyla (Francis Benhamou; The Profane) and her 5-month-old baby to prevent anyone from discovering Taroon. A surprise visit from Leyla is cause for severe tension. The situation only becomes more tense when it is confirmed that the Taliban are definitely seeking Taroon and he must try to leave the country immediately. Decisions are made that test each character’s ethics and lead to momentous consequences. Some of the acting is superb, particularly Ms. Neshat and Mr. David. The set by Arnulfo Maldonado (A Strange Loop) and costumes by Montana Levi Blanco (A Strange Loop) are convincingly realistic and the direction by Tyne Rafaeli (Power Strip) is smooth. With so much going for it, you may wonder why I don’t praise the play more effusively. One reason is that Mr. Sanchez’s portrayal of Taroon leaves much to be desired; he does not have the range to match the character’s development over the course of the play. The other reason is that there are a couple of giant holes in the plot; you will probably be too caught up in the action to notice them while you are watching the play, but they are likely to bother you later. Despite these problems, the play is well worth seeing. I do wish that they had not found it necessary to bookend the play by assaulting the audience with the deafening sound of a helicopter. Running time: 100 minutes, no intermission.