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.

Sylvia ***

Twenty years after its debut at Manhattan Theatre Club, A.R. Gurney’s charming but inconsequential play has finally made it to Broadway. It presents the playwright in a much more favorable light than any of the three Gurney plays that Signature recently mounted. Annaleigh Ashford’s performance as the eponymous canine is sheer delight, reason enough to see the show. As Greg, the man with a midlife crisis who is instantly smitten with Sylvia when she plops into his lap in Central Park, Matthew Broderick is the best he has been since “The Producers.” The ever-watchable Julie White strikes all the right notes as Greg’s wife Kate, who does not want a dog to upset their newly-empty nest or her budding career as a teacher bringing Shakespeare to uptown middle school students. Robert Sella is a triple threat as Tom, another dog owner in Central Park; Phyllis, Kate’s friend from Vassar days whose struggle to stay on the wagon is threatened by Sylvia’s enthusiastic attentiveness; and Leslie, the androgynous couple counselor Kate and Greg visit. As Sylvia becomes more entrenched and gets more attention from Greg than his wife does, a showdown looms. I’m sure you can guess the outcome. The play’s conceit is really too slender for a work that runs over two hours, but director Daniel Sullivan does an excellent job of hiding that. The triple casting of Sella is droll, but seems cut from a different cloth than the rest of the play. David Rockwell’s set offer a lovely scene of Central Park with the essentials of a park-view apartment that materialize when needed. Ann Roth’s costumes are excellent; the ones for Sylvia are truly inspired. You may forget the play five minutes after it ends, but you will likely enjoy it while you're watching it. Running time: 2 hours 10 minutes including intermission. 

The Mystery of Irma Vep: A Penny Dreadful ****

It’s hard to believe that it’s been 30 years since Charles Ludlum’s satire of Victorian melodrama was first staged. Red Bull Theater is celebrating this anniversary with a hilarious revival now at the Lucille Lortel Theatre. The play’s main gimmick is that all seven roles, both male and female, are played by two male actors — Ludlum and his longtime partner Everett Quinton in the original production. Ludlum died tragically three years after the play’s opening, but Quinton is fortunately still with us and has lovingly directed this revival starring Robert Sella and Arnie Burton. The play holds up surprisingly well and the actors acquit themselves quite honorably in all their roles: Lord Edgar and Lady Edith Hillcrest, the masters of Mandacrest; loyal servant Jane, one-legged swineherd Nicodemus, Egyptologist Alcazar, the mysterious Pev Amri, and, of course, Irma Vep. The convoluted plot is ridiculous in the extreme — just know that it involves the deceased first Lady Hillcrest, a vampire, a werewolf and a mummy. The language is floridly archaic (think “fain” and “gibbous”) with nods to Shakespeare and Poe, among others. The fast character changes are very funny, with one brilliant tour de force in the second act. And it’s not often you get to hear a dulcimer duet. The play’s Egyptian scene is side-slappingly funny. Scenic designer John Arnone, costume designer Ramona Ponce, lighting designer Peter West, sound designer Brandon Wolcott and wig designer Aaron Kinchen have all made delightful contributions to the production’s success. Be forewarned — if your tolerance for silliness and high camp is limited, you will not enjoy this show. There is absolutely no redeeming social value, just a lot of laughs. Running time: 2 hours including intermission.