Fate, karma, destiny, magic and music are some of the key elements
of a bittersweet love story whose supposition is that we are all locked and
interlocked in a metaphysically programmed universe. It is more than six
degrees that find the characters in "Fly By Night" meeting, loving,
leaving and wondering what to make of it all, as they find themselves in
relationships over which they appear to have little or no control. What are the
forces behind the energy and synergy of our lives and behind our moves and our
motives and how do we know when to listen and whether or not to obey?
Sounds weird enough, but this new and often enough wondrous
musical, as conceived and written by by Kim Rosenstock and collaborators Will Connolly and Michael
Mitnick at the Playwrights Horizons has captured, at least during its first
half, a delightful confluence of cause and effect as it happens to a group of
people before, during and after all the lights went out along the northeast
corridor in 1965.
Despite notes of sadness and melancholy, there is also a
joyously mystical aspect to the musical, ably directed by Carolyn Cantor, in
which a young man Harold (Adam Chanler-Beret) who makes sandwiches in a deli
finds himself also making difficult choices when it comes to the two women in
his life. It was easy enough for him to fall for pretty, perky and blonde Daphne (Patti Murin) who has left her small town in South Dakota and recently settled in New York with
the hopes of a stage career.
Strumming away on the guitar left to him by his recently
deceased mother, Harold not only also aspires to be a song-writer and performer
but also hopes to be an inspiration to Daphne, that is until he meets Miriam
(Allison Case) her astronomy nerd of a sister who has come to New York to be
supportive. For Harold, there is something compelling about Miriam and her
abstract notions of stars and such, just
as Daphne finds herself being intrigued by a self-absorbed dilettante playwright
Joey Storms (Bryce Ryness) who sees her potential and wants to star her in his
new play.
The musical moves back and forth in time as we are led from
location to location and incident to incident by means of an omnipresent observer/
narrator (delightfully played by Henry Stram) who keeps more than just tabs on
the lovers as he also delightfully assumes some minor roles. We are also watching to see just how Harold's "La
Traviata" obsessed father (Peter Friedman), who continues to grieve with
an old Victrola in his hands over the loss of his wife, might find his future, just
as we wonder what the future holds for the disgruntled deli owner Crabble
(Michael McCormick).
Somehow just as the lovers begin to make choices that are made
to seem predestined, the musical, especially during the second half, seems to
lose its focus and grip on telling the story, but rather devolves and get
bogged down by protracted musical and narrative reveries. Aside from a score
that is pleasant enough, there is a cloying repetition of a theme song that
does not help us keep the faith. I also had the feeling that the musical had
said all it had to say and to sing in its first act. Despite splendid acting
from the ensemble, Act II becomes tedious and tiresome and undermines the whimsy,
charm and metaphysical impulses that otherwise ground this ambitious little
musical.
I liked seeing the band centered on the stage and seeing how
creatively director Cantor uses the abstract setting (by David Korins) to enable
these searching souls to finally gaze at a heaven filled with stars, thanks to
the lovely lighting by Jeff Croiter.
"Fly By Night" (through June 29, 2014) at Playwrights
Horizons, Mainstage Theater, 416 West 42nd Street
For tickets ($75.00 - $9500) call 212-279-4200 or phnyc.org.
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