The Coast Starlight

 B+

Keith Bunin’s (The Busy World Is Hushed, The Credeaux Canvas) clever, humane play at Lincoln Center Theater at the Mitzi Newhouse, takes place in the conditional. It deals with what might have happened if six passengers on the train between LA and Seattle had overcome their inhibitions and actually started to converse. The six are a diverse lot: Jane (Camila Cano-Flavia, Network), an animation artist who passes the time by sketching the other passengers; T.J. (Will Harrison, NY debut), a young Navy medic who doesn’t want to return to Afghanistan; Noah (Rhys Coiro, Dinner at Eight), a laid-back veteran who lives on a boat; Liz (Mia Barron, The Wolves), a hilariously unhinged woman fleeing a meltdown at a couples’ workshop; Ed (Jon Norman Schneider, The Oldest Boy), a beat-down salesman trying to find the hope to move on; and Anna (Michelle Wilson, Sweat), a black lesbian who has hidden the existence of her children’s uncle from them. All are vividly written and convincingly portrayed. The playwright explores how and whether they could have helped each other if only they had broken through to initiate a conversation. Arnulfo Moldonado’s (Power Strip) simple scenic design is well-complemented by 59 Productions’ projections (Flying Over Sunset). The costumes by Asta Bennie Hostetter (The Wolves) are suitable to each character. Tyne Rafaeli’s (Selling Kabul) direction is unfussy and assured. If you are looking for more action than talk, you may be disappointed, but if you want to get to know how these six people represent the human condition, you should find the play rewarding. Running time: 100 minutes, no intermission.

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.

An American in Paris ****

The just-ended Broadway season blessed dance lovers with two productions featuring dance in a central role. The season started with a wonderful revival of On the Town and ended with this stylish adaptation of the Oscar-winning 1951 film starring Gene Kelly and Leslie Caron. In his first outing as director, choreographer Christopher Wheeldon does himself proud. It doesn’t hurt that he has wonderful Gershwin music to work with, as well as a pair of talented leads. Robert Fairchild, a principal with the New York City Ballet, is simply marvelous as Jerry Mulligan, the GI who stayed in Paris to become an artist. In addition to his impeccable dance skills, he is a natural actor with matinee looks and a pleasant voice. Leanne Cope, a Caron look-alike from the Royal Ballet, would also be a triple-threat if her singing voice were more expressive. The supporting cast is strong — Brandon Uranowitz as the expat composer Adam Hochberg, Max von Essen as Henri Baurel, Lise’s somewhat ambivalent fiancé, and Jill Paice as Milo Davenport, the American heiress who has her eye on Jerry. Each gets at least one chance to shine. Veanne Cox does her best with the cardboard role of Henri’s uptight mother. Bob Crowley’s costumes are excellent and his fluid set design, complimented by wonderful projections by 59 Productions, are amazing. However, the incessant motion of the sets and projections in the early scenes almost made me dizzy. The ambitious — perhaps overambitious — book by Craig Lucas moves the action back to 1945 when Paris is just emerging from the Nazi occupation. To me, the attempt to add gravitas to the plot was misguided and less than successful. My only other disappointment is that there was less Gershwin music than I hoped for. I missed “Embraceable You,” “Nice Work if You Can Get It” and “Our Love Is Here To Stay.” Despite these reservations, I had a wonderful time and highly recommend the show, especially to dance lovers. Running time: 2 hours, 35 minutes including intermission.