‘FLYING OVER SUNSET’: (Left to right) Tony Yazbeck, Harry Hadden-Paton & Carmen Cusack. Photo: Joan Marcus.

FLYING OVER SUNSET
Music by Tom Kitt
Lyrics by Michael Korie
Book & direction by James Lapine
Through February 6, 2022
Vivian Beaumont Theater
150 West 65th Street
(212-239-6200), www.FlyingOverSunset.com

By David NouNou

Flying Over Sunset is a musical that is both intriguing and manipulating. It is intriguing due to the subject matter, the use of LSD, and it is manipulating because of the subjects who are using LSD. Had it been you, me, and a random third person, there would be no intrigue, plot or point. However, Cary Grant (Tony Yazbeck), a movie star from 1932 to 1966; Clare Boothe Luce (Carmen Cusack), a playwright who wrote The Women, a Republican Congresswoman from Connecticut, and a U.S. Ambassador to Italy; and Aldous Huxley (Harry Hadden-Paton), author of the 1932 dystopian classic novel Brave New World—all using LSD (lysergic acid diethylamide)— manipulates us to care about who and what is going on.

All three used LSD at low points of their lives. Cary Grant was trying to connect his movie-star persona to his childhood poverty-stricken self, Archie Leech; Clare Boothe Luce, after the death of her daughter, Ann, in a car accident; Aldous Huxley wanted to experiment and get in touch with his inner self, and after the death of his wife, Maria. They all needed to come to their point of self-realization. Their mentor who helped them through their journeys was Gerald Heard (Robert Sella), the grandfather of the “new age.”

The book by James Lapine is provocative in a manipulating way. Although the three subjects never had a collective session, it is interesting how Mr. Lapine wove together these three brilliant lives into a cohesive narrative.

As a musical, Flying Over Sunset at best is a very iffy proposition. As a drama, it would have been superior with all the insights thrown into these characters. The characters are compelling and do hold our interest. As a musical, the songs and the musical numbers tend to interrupt the proceedings. That being said, the music by Tom Kitt is beautiful and haunting, while the lyrics by Michael Korie are often pedestrian and forgettable.

Never having known Cary Grant, Clare Boothe Luce, or Aldous Huxley personally, of the three, most of us are familiar with the movies of Cary Grant. Thankfully, Mr. Yazbeck doesn’t impersonate Mr. Grant; he gives us the flavor of the self-doubting, dashing leading man, Ms. Cusack imbues a lot of tragedy to her Ms. Boothe Luce, and Mr. Hadden-Patton delves into Mr. Huxley’s persona with passion. They all have their moments to shine, but Ms. Cusack stands out for the beauty of her voice, and her vocals are gorgeously melodic, particularly when singing the show’s title song “Flying Over Sunset” in act one.

The major drawback to all the proceedings is the cavernous Vivian Beaumont Theater; not even Mr. Lapine’s expert direction and the great assistance of Beowulf Boritt’s beautiful and often hallucinogenic scenery can overcome this drawback. What will keep you in your seats and help you overcome this hollowness are the gifts of Carmen Cusack, Harry Hadden-Paton and Tony Yazbeck.

Edited by Scott Harrah
Published December 20, 2021
Reviewed at December 19, 2021 press performance.

‘FLYING OVER SUNSET’: (Left to right) Michele Ragusa, Carmen Cusack & Kanisha Marie Feliciano. Photo: Joan Marcus.

‘FLYING OVER SUNSET’: (Left to right) Michele Ragusa, Harry Hadden-Paton, & Kanisha Marie Feliciano. Photo: Joan Marcus.

‘FLYING OVER SUNSET”: Carmen Cusack (center) & cast. Photo: Joan Marcus.

‘FLYING OVER SUNSET’: Robert Sella & Carmen Cusack. Photo: Joan Marcus.

‘FLYING OVER SUNSET’: Tony Yazbeck. Photo: Joan Marcus.

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