However, if you bump into walls or other objects in the game, you will be instantaneously transported to another environment, the system of which is called "linking". There are many bizarre environments in this world, and one way to travel through them is by foot. The idea is simply to walk around and enjoy things in a dream environment. There is no action or experience points, nor is there any clear goal. In this game, the player simply navigates a dream world. It has a small cult following and is recognized as being genuinely disturbing at times. Sign up to the Front Page newsletter for free: Your essential guide to the day's agenda from The Telegraph - direct to your inbox seven days a week.LSD: Dream Emulator is a video game released in Japan in 1998 for the Sony PlayStation video game console and is one of three products (the others being a music CD and a book) based on a diary of dreams that a staff member at Asmik Ace Entertainment had been keeping for a decade. But, as much as the characters in Flying Over Sunset talk and sing about enlightenment, the audience rarely feels them experiencing it.īooking until Feb 6. When so many new Broadway musicals are based on hit films or filled with jukebox songs, a show that has an original story and score is a radical project. The second act traipses over similar territory without expanding on it or the characters’ struggles, even in Luce’s big song, How?Įxceptions are the numbers The Music Plays On, in which the intellectual Huxley shows his tender side and dances with his late wife, and I Like to Lead, a steamy duet between Grant and Sophia Loren, with the actress taking charge. That’s all in the first act, which ends with Grant, Huxley and Luce meeting and deciding to trip together under the guidance of another real-life figure, author Gerald Heard (Robert Sella), an LSD guru to Huxley and Luce.
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LSD propels her on an out-of-body experience in the title song, and Cusack’s rich, luminous voice makes the music soar. The accomplished Luce (Carmen Cusack), who went from playwright and editor at Vanity Fair to a conservative US politician, turns down an appointment as ambassador to Brazil and struggles to cope with the loss of her mother and daughter in separate car accidents. Bradley King’s lighting suddenly has him seeing a palette of rich hues in a scene re-creating an experience Huxley describes in The Doors of Perception: looking at paintings in art books in a Los Angeles drugstore. LSD opens up a colorful world for Huxley (an affecting Harry Hadden-Paton), who suffered from vision problems. The song Funny Money segues into a magnificent tap number for Grant’s portrayer, Tony Yazbeck, choreographed by Michelle Dorrance.
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Grant, for example, who reinvented himself as a suave sophisticate, is confronted with a hallucination of his child self, the working-class Archie Leach, who performed in music halls. The dialogue conveys plenty of biographical details and backstory but lacks deeper insight. Lapine, who was Sondheim’s collaborator on the magnificent Sunday in the Park with George, struggles to craft compelling scenes for his characters. For a show with such bold ambitions and esteemed creators, including Next to Normal composer Tom Kitt and Grey Gardens lyricist Maichal Korie, the result is rather conventional, although there are echoes of Stephen Sondheim in the songs, which range from the playful to the philosophical. Who knew that taking LSD could lead to spontaneous singing and dancing? The outré plot of the new Broadway musical Flying Over Sunset, which opened at Lincoln Center’s Vivian Beaumont Theater on Monday night, centres on three characters who use the psychedelic drug to confront their demons and find enlightenment.Īnd not just any three people, but a trio of huge names from the mid-20th century: Cary Grant, Brave New World author Aldous Huxley and American writer and politician Clare Boothe Luce, all of whom spoke publicly about taking LSD.īut what if they had experimented with the drug together? That’s the fictional premise that James Lapine, the musical’s book writer and director, explores in the second act, when all three gather at Luce’s residence in Malibu, California, in the 1950s after taking individual trips in Act I.
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Tony Yazbeck (as Cary Grant), Harry Hadden-Paton (as Aldous Huxley) and Carmen Cusack in Lincoln Center Theater's Flying Over Sunset - Joan Marcus