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.

War Paint

C

Take the librettist (Doug Wright), composer (Scott Frankel), lyricist (Michael Korie), Tony-winning star (Christine Ebersole) and director (Michael Greif) of a much-loved musical (Grey Gardens); for good measure, add another Tony-winning diva (Patti Lupone), throw in Tony winners for choreography (Christopher Gatelli) and costume design (Catherine Zuber) plus the scenic designer of Hamilton (David Korins), and you should have all the ingredients of a wonderful show. And don't forget to include plot points that will appeal to Jews and gays, two staples of the Broadway audience. Unfortunately, this new musical about Helena Rubinstein and Elizabeth Arden, now in previews at the Nederlander Theatre, does not fully deliver on its promise. While there is much to admire — the two leads, a sumptuous production, some good songs with intelligent lyrics — there is little to love. The story of the parallel careers of these two cosmetic giants, while instructive about an interesting aspect of American social history, is a bit bloodless. There were very few moments when I was moved. John Dossett plays Arden’s husband and sales manager. Douglas Sills plays Rubenstein’s closeted business manager and companion. Their switcheroo seemed a bit too formulaic. Some judicious trimming is in order. At two hours 45 minutes including intermission, it risks wearing out its welcome. It’s far from terrible, but with all that talent involved, the results are disappointing.

Far from Heaven **

(Please click on the title to see the complete review.)
Todd Haynes' 2002 film tribute to Douglas Sirk's lush melodramas of the 1950's must have seemed like suitable material for a musical, but the current adaptation with book by the ubiquitous Richard Greenberg, music by Scott Frankel and lyrics by Michael Korie does not make the case. Despite fine performances by Kelli O'Hara, Stephen Pasquale and Isaiah Johnson in the leading roles, this production, now in previews at Playwrights Horizons, falls flat. One hopes that paring down a screenplay to make room for songs that will amplify emotions and/or move the plot along will yield a net gain. In this instance, at least for me, the results diminish rather than enhance the film. I missed the film's gorgeous cinematography that went so far to create the feel of suburban Connecticut in 1957. The basic story of a seemingly perfect marriage destroyed by the husband's homosexuality and the wife's friendship with her black gardener is still there, but the weaknesses in the plot seem more nakedly exposed here. The music and lyrics are far from memorable. Allen Moyer's Mondrian-like set is complemented by Peter Nigrini's projections. Catherine Zuber's costumes are period-appropriate. Kenneth Posner's lighting is especially fine. I hoped that Frankel, Korie and director Michael Greif, the people who had a great success at Playwrights Horizons with another film adaptation, Grey Gardens, would strike gold twice. Unfortunately, they have not. Running time: two hours, 25 minutes including intermission.