TAKE FLIGHT [PS Classics PS-859]
Composer David Shire has been writing shows since Off-Broadway's The Sap of Life in 1961, with little concrete to show for it. I haven't heard his scores for How Do You Do, I Love You or The Love Match — neither of which made it to town — nor his incidental music for Peter Ustinov's The Unknown Soldier and His Wife. Shire's two later musicals, though, make evident the quality of his writing. The 1983 Baby has an impressive and lovable score, which almost succeeded in carrying the show past the shoals of its unfortunate flaws. Big was even more problematic, with the problems in conception and execution extending to the songwriters. Still, there is some first-rate music there. Shire has also been represented by two Off-Broadway revues, Starting Here, Starting Now and Closer Than Ever.
If Shire's theatre output is limited, he has countered with an extensive Hollywood career. He got his start, in part, due to nepotism — his then brother-in-law, Francis Ford Coppola, hired him to score "The Conversation" (1974). His work spoke for itself, leading to a busy and lucrative career with titles including "All the President's Men," "The Taking of Pelham 1-2-3," "Norma Rae," "'night, Mother" and "Saturday Night Fever." Still, he has always returned to the theatre, in search of that elusive hit.
Shire's collaborator Richard Maltby, Jr., has found considerably more stage success, with not one but two massive smashes. In 1976 he directed and co-conceived Ain't Misbehavin'; in 1991 he provided English-language lyrics and additional material for Miss Saigon. Maltby has most recently been represented by Ring of Fire and The Pirate Queen.
At any event, Maltby and Shire went to London in July, accompanied by librettist John Weidman, for Take Flight. The Menier Chocolate Factory is what you might consider a quality venue, with their acclaimed production of Sunday in the Park with George due next month at Studio 54. Take Flight is the first original musical to be mounted by the Menier, which can be seen as something of a coup. Still, one supposes that the London premiere was in lieu of something more local. The authors have direct relationships with Lincoln Center Theater, Manhattan Theatre Club, Roundabout, New York Shakespeare Festival, the Goodman, and on and on. Did nobody else want to Take Flight?
Let me interrupt this history by noting that the new original cast album, from PS Classics, reveals a strong and enjoyable score with perhaps the finest lyrics Maltby has given us. If there are flaws that were revealed by the Menier production, Take Flight makes a fine and highly listenable CD.
The show, it turns out, has been kicking around since at least the turn of the century. An early version, with book by Marsha Norman, was presented at the O'Neill Conference in 2001. This with a cast headed by Daniel Jenkins and Christiane Noll, under the direction of Jerry Mitchell. By 2004, Maltby took over libretto and direction, with workshops presented in Florida, Australia and Russia (!). This activity culminated in a major New York City workshop that fall, with a cast headed by Kelli O'Hara, Christian Borle and Patrick Cassidy. This led precisely nowhere, although Weidman — Maltby & Shire's collaborator on Big — apparently saw the workshop and signed on. Almost three years later, Take Flight made it to the Menier, with director Sam Buntrock at the helm.
It is hard to judge the piece's theatrical effectiveness from the CD. If the local reviews that made their way stateside are any indication, Take Flight suffers from book trouble. The idea is to take three aviation milestones — the first flight by the Wright Brothers in 1903, Charles A. Lindbergh's New York-to-Paris jump in 1927, and Amelia Earhart's ill-fated round-the-world trip in 1937 — and tie them together into a concept musical. The score, as represented on the CD, works; I found myself hanging onto every word, in fact. The songwriters are abetted by performers Sally Ann Triplett (as Earhart), Michael Jibson (Lindbergh) and Ian Bartholomew (as publisher George Putnam). Shire contributes an effective eight-piece orchestration as well, under the direction of Caroline Humphris.
If the future of Take Flight is unclear, the work of Shire and Maltby is most welcome. There are some vestiges of Sondheim here; Sunday in the Park and Assassins are called to mind, and the "Back of the Line" sequence in the second act recalls the "Please, Hello" number in Pacific Overtures. (Concepts were presumably contributed by Weidman, librettist of Assassins and Pacific Overtures.) But why shouldn't there be vestiges of Sunday in the Park? It's not like Maltby and Shire are jumping on a bandwagon; Sunday is approaching its 25th birthday. Sondheim served as a mentor to the composer, as it happened, with Shire working on the original Anyone Can Whistle, "Evening Primrose" and Company.
Perhaps Take Flight won't end up barnstorming Broadway after all, which would be a shame. Even so, this CD happily suggests that the composer and lyricist of Baby are in fine form and still very much in the game.
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