See it if You love Tom Kitt and James Lapine. Two great minds together.
Don't see it if You want to see a dance heavy show.
See it if a fan of 1940s Hollywood and enjoy music of Tom Kitt, Next To Normal, Grey Gardens, War Paint. interesting & gorgeous staging & choreography
Don't see it if Are looking for a traditional big musical
See it if You want to see one of the best shows on Broadway in years. It is fantastic from start to finish. Every performer is excellent.
Don't see it if you can't sit through long shows. This show runs 2 hours and 45 minutes but, I felt like it really flew by Read more
See it if great interplay between cast. luce very well cast. great performance. great dancing. humerous. touching. very well done.
Don't see it if lighthearted and essentially promoting psychedelic meds.
See it if You are open minded and ready to experience a totally new type of musical with adult themes.
Don't see it if You are more into traditional type musicals.
See it if You enjoy your theatrical imagination being pushed, and you’re willing to let a piece of musical theatre be its own languid thing.
Don't see it if You have a limited, dull theatrical imagination or you expect a musical to follow the dull tropes of the BMI Workshop/Disney school. Read more
See it if An absurd and delightful jaunt into a magical and absurd silly moment in the past that is reflective and poignant. I adored this--everything
Don't see it if Well a musical about LSD---and real life people brought to life in the most absurd fashion-- not for everyone, but I found it magical.
See it if You like originality and daring in musicals with gorgeous music, dazzling staging and a terrific cast. A magical trip.
Don't see it if You like stories with a conventional story or a rehash of other musicals you’ve seen before.
"Though sometimes mesmerizing, “Flying Over Sunset,” the new musical about LSD that opened there on Monday, is mostly bewildering, and further proof that transcendence can’t be shared."
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"The Lincoln Center production has real pleasures: Yazbeck shares a thrilling music-hall duet, choreographed by Michelle Dorrance, with his younger self (Atticus Ware), who is dressed as a girl; Cusack sings as beautifully as always, as does Laura Shoop as Huxley’s wife. And the staging is very handsome indeed: Beowulf Boritt’s expansive set, Toni-Leslie James’s costumes and Bradley King’s lighting are all first-class. But these elements can only distract so much from a show that would probably make more sense as a one-act in a smaller space. What a long, strange trip it is."
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"The production is a head-scratcher from the get-go as the ensemble parades single file, doing loop-de-loops around the stage. Footsteps are loudly amplified, presumably to suggest the heightened sensory impact of LSD, but who knows. What’s clear is that the actors go in circles and so does the show. The second half restates what’s already been said in the first act, but with splashier visual effects. Songs drift in and out, etching vaporous impressions while they’re at it. The pretty title song emerges as the most vivid."
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"The image does not set up a theme or a motif or illuminate some unseen truth. The show’s songs — lush but dull music by Kitt, lyrics by Korie — all show us acid trips, yet the grindingly inert and ineffectual Judith number makes you keen never to share one of these hallucinations again."
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"Overlong and occasionally (but only occasionally) a bit tedious, the last third of the show loses its way. There’s some Freudian demon-facing, a lot of long-delayed (and fairly pat) self-acceptance and, in the case of the short-shrifted Gerald, a bit of ascendant fighting spirit, but for all the talk of communal experience and shared enlightenment, Flying Over Sunset just can’t quite figure out what these characters ultimately mean to, or do for, one another."
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"the creatives of this delectable theatrical bonbon treat us to a tasteful trip on the mild side...The show’s trippy sensibility is strikingly displayed on Beowulf Boritt’s spare, highly stylized cycloramic set and under Bradley King’s luscious lighting, which turns the color blue into a juicy fruit so cool and sweet the eye can almost taste it. Mixing up the senses is very much a quality of this thoughtful and unusually literate musical, which book writer and director Lapine has apparently conceived as a head trip with brains."
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"This offbeat premise — smartly realized only by Beowulf Boritt’s scenic designs and the projections by 59 Productions — has been turned into an entertainment about as scintillating as an Agriculture Department instructional video on crop irrigation. It’s as if Lincoln Center Theater and the accomplished creative team (with two Pulitzer Prizes among them) came to the creative juncture of delightful and tedious and took the wrong fork.
Long-winded and impossibly earnest, the world-premiere musical, which marked its official opening Monday night at the Vivian Beaumont Theater, features an unremarkable score by Tom Kitt and Michael Korie and a lumbering book by James Lapine, who also directs."
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"Being the only sober person in a room full of drunks is never any fun. Neither, as it would happen, is being an audience member at a musical about rich people who are high on LSD.
At least its trippy cousin “Hair” has energetic songs and some cute hippies who jump around to them."
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