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Fly By Night: A New Musical image 1
Fly By Night: A New Musical image 2

Adam Chanler-Berat and Allison Case

Fly By Night: A New Musical image 3

Bryce Ryness and Patti Murin

Fly By Night: A New Musical image 4

Henry Stram and Peter Friedman

Fly By Night: A New Musical image 5

Michael McCormick and Adam Chanler-Berat

Fly By Night: A New Musical image 6

Henry Stram and Allison Case

Fly By Night: A New Musical image 7

Company

Fly By Night: A New Musical


Mainstage Theater

Conceived by   Kim Rosenstock
Written by   Will Connolly
Written by   Michael Mitnick
Written by   Kim Rosenstock
Directed by  Carolyn Cantor

NEW YORK PREMIERE

In this darkly comic rock-fable, a melancholy sandwich maker's humdrum life is intersected by two entrancing sisters. A sweeping ode to young love set against the backdrop of the northeast blackout of 1965, Fly By Night is a tale about making your way and discovering hope in a world beset by darkness.

FEATURING
Allison Case
Adam Chanler-Berat
Peter Friedman
Michael McCormick
Patti Murin
Bryce Ryness
Henry Stram

Scenic Design  David Korins
Costume Design  Paloma Young
Lighting Design  Jeff Croiter
Sound Design  Ken Travis and Alex Hawthorn
Musical Direction  Vadim Feichtner
Production Stage Manager  Kyle Gates
Choreographer  Sam Pinkleton

This project was funded in part with the support of the Stacey & Eric Mindich Fund for New Musicals at Playwrights Horizons.

Reviews

More Reviews

Trailer

Fly By Night Official Trailer

In this darkly comic rock-fable, a melancholy sandwich maker's humdrum life is intersected by two entrancing sisters. Featuring commentary by writers Will Connolly, Michael Mitnick, and Kim Rosenstock.

Trailer

Fly By Night Teaser

Prepare yourself for #FlyByNightPH with moments from the musical's recent concert at Works and Process at the Guggenheim.

Interview

Artist Interview with Fly By Night Writers

Tim Sanford: What possessed you to want to write a musical? Kim Rosenstock: I always secretly really wanted to write a musical. And my friend Michael Mitnick, who was one of the two other playwrights in my class, had a lot of experience writing musicals. Actually, I first learned Michael writes musicals when we interviewed together to be admitted at Yale. And I remember on the train back not knowing if I was going to get in or if he was going to get in, and thinking, “I really hope we both get in and I can somehow trick him into writing a musical with me.” And that was my plan all along, so when this happened the light bulb went off and I said, “Michael, will you write a musical with me?” And he said… Michael: Absolutely. I had nothing else to do that summer, but being 2/3 of the playwriting class, being around Kim seven days a week for two years, I had not only become the biggest fan of her writing, but also she became my best friend.

Interview

Get to Know Foe Destroyer, band of ‘Fly By Night’

Instead of a traditional orchestra, ‘Fly By Night’ boasts the talents of acclaimed Brooklyn/Austin rock band Foe Destroyer, who bring their musical prowess and wildly eclectic sound to the show’s New York premiere at Playwrights Horizons. Equipped with sardonic wit and a plethora of opinions, the three mad geniuses behind the noise—a.k.a. Daniel Garcia, Cade Sadler Chris, and McQueen—discuss with PH's Literary Resident Kari Olmon their songwriting, collaboration, and why they are uniquely suited to play in musicals.

Essay

NYC Love Stories

In conjunction with our production of FLY BY NIGHT by Will Connolly, Michael Mitnick, and Kim Rosenstock—a tale of love, hope, and sandwiches set against the backdrop of the northeast blackout of 1965—Playwrights Horizons curated a collection of great NYC love stories and images. Our favorite submissions appear after the jump.

Interview

The Writers of Fly By Night

Writers Kim Rosenstock, Michael Mitnick, and Will Connolly give us the rundown on "Fly By Night" and the blackout that started it all, as well as some insight into their hidden talents.

Interview

In Conversation with the writers of Fly By Night

How did the three of you come to collaborate on Fly By Night? KIM ROSENSTOCK: Michael and I were both students together in the playwriting program at Yale—we actually interviewed together, and I remember him saying that he wrote musicals and thinking, “I hope I get in and that he gets in and that one day I can trick him into writing a musical with me.” Will was in the acting program at the same time. MICHAEL MITNICK: The Yale Cabaret has a summer stock season and Kim was the artistic director. She wisely chose to give herself a slot. KR: I was finally in the position to put my musical scheme into action. MM: I was her biggest fan so I said, sure as long as we could also work with Will, whose songs I thought were wonderful. WILL CONNOLLY: Then Michael and Kim came to me and said, “Hey! You wanna write a musical with us?” And I was like, “Uh, I have no earthly idea what that means or why you're asking me, but sure, sounds like a fun experiment.” KR: And then, of course, much to our delight and fear, the hypothetical became actual, and we had about six months to write an original musical.

Essay

Tim Sanford on Fly By Night

"States of consciousness, even when successive, permeate one another, and in the simplest of them the whole can be reflected." –Henri Bergson, Time and Free Will "What does it look like when time stops?" –Fly by Night A genial Narrator steps forward to set the story of Fly by Night for us. His manner is reassuring, parabolic, and just a little bit halting. It’s a story of three: two sisters from South Dakota, and a sandwich maker. It’s a story with a funeral and a guitar and a band. It’s a story about everyday life and the vastness of the starry sky. It’s a story about a simpler age. And it’s a story about now.

Essay

The American Voice: On Musicals and Modernity

In 2005, a rather remarkable production of Stephen Sondheim’s classic Grand Guignol musical Sweeney Todd appeared on Broadway. Directed by John Doyle, this extraordinary production stood out not because it featured epic effects or oceans of stage blood, but instead because it was pared down to its simplest level. Described as “psychologically astute” by critics, it uniquely featured actors who also played their own instruments. Rather than serving as a gimmick, Doyle’s stylized version of Sweeney allowed the music to act as a direct form of character development and storytelling. Form was allowed to follow function. The result was a production that demonstrated extraordinary depth of character.