Fly By Night: A New Musical
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.
Scenic Design David Korins
Costume Design Paloma Young
Lighting Design Jeff Croiter
Sound Design Ken Travis and Alex Hawthorn
Music Direction Vadim Feichtner
Production Stage Manager Kyle Gates
Choreographer Sam Pinkleton
When's the last time you saw a musical that left its audience happily crying and hugging each other during the curtain calls? That's what happened on opening night of Fly by Night, about as magical an evening as you'd ever want to experience in live theater.—Elaine Liner, Dallas Observer |Read Full Article
Fly by Night is the most paradoxical of musicals - hilarious and bittersweet, deeply immersed in tradition but utterly original.—Lawson Taitte, Dallas Morning News
A breathtakingly good new musical. Smart, funny, and poignant lyrics nestle in sweet melodies within a brain teasing well-told tale.—Robert Hurwitt, San Francisco Chronicle.
The cast met the press and BroadwayWorld's Richard Ridge was on hand to chat with the company about the new musical.
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.
"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.
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.