Words by Kristen Fogle
Let me extend a general disclaimer. I don’t really enjoy “dance” shows much. Though I completely respect the art form and am impressed with the athleticism and artistry inherent in dance, I will rarely seek out a show that consists primarily of pirouettes.
“Come Fly Away” is a better breed, however, which Sinatra is more than partially responsible for. The 80 minute show with no intermission, which came to San Diego’s Civic Theatre the first part of November, consists of over 25 of the greatest hits from the ‘Chairman of the Board’ and showcases dancing by some of the best around. What makes it fun is that “Come Fly Away” becomes a different way to listen to some of your old favorites. (Led by conductor/pianist Robert Cook, the 14 piece band thrills, with an impressive reeds section in particular, and really provides the push from peaceful listening session into show.) The band backs up many superb recordings of Sinatra’s work, ranging from the 1940s on into 1980. Soulful melodies “That’s Life” and “I’m Gonna Live ‘Til I Die” were refreshing as I generally don’t hear these every day. The songs that never seem to go out of rotation are also present—“Luck Be a Lady,” “Starlight,” “New York, New York,” and “Body and Soul” among them.
And then of course, the dancing. (Though again, not my thing) it is conceived, choreographed, and directed by Twyla Tharp and is admittedly outstanding. I noted that there were fourteen dancers on stage in the show with a seemingly new mix each night; performers rotate in and out, performing some nights and not others, which is no wonder due to the sheer energy and effort it must take to put on such a spectacle. But the demands of this type of performance is old hat to most up there—many graduated from prestigious ballet academies, such as the Royal Ballet School, and have been touring professionally in dance intensive shows like “West Side Story,” “Dirty Dancing,” “Saturday Night Fever,” and “Fosse,” to name a few, for many years. Sadly, it is difficult to pinpoint who is who and give them individual props; though names are given to cast members in the program, they are never referenced in the show. Characterization can be seen though, and the stereotypes are present—the geeky innocent couple, the sex pot, the tease, the “big man on campus” type. Skimpy costumes and moments of striptease don’t hurt in making these entertainers that much more likable.
This is where I cease praising “Come Fly Away” and get a bit critical, however. Yes, you could suss out some characters in the mix, but the choreography was so front and center (and stagnant/repetitive in places) that there was no storyline. I would have welcomed a longer show (and intermission) for some speaking interspersed. Look at shows like “Mama Mia!” where the music is predominant; though songs are not always introduced organically into the mix (in fact, they are quite forcefully shoved into plot lines at times) at least there is a sense of fluidity involved in moving from song to song. In “Come Fly Away” we are taken from each number with no visible theme to support the transition. Also, though again, I am impressed with the choreography and the skill involved in the execution of it, I would have liked to have seen the pace slow a bit in places—it didn’t seem to matter that the song was up-tempo or not—energy and pace was at a seven (or higher) always.
This is not to say that “Come Fly Away” is not to be seen. For those that grew up listening and loving Sinatra, how are you going to turn down a show predicated on old favorites crooned by a legend and young artists demonstrating their skills? Perhaps it’s “Witchcraft,” but I am still charmed by this imperfect piece.
“Come Fly Away” is a better breed, however, which Sinatra is more than partially responsible for. The 80 minute show with no intermission, which came to San Diego’s Civic Theatre the first part of November, consists of over 25 of the greatest hits from the ‘Chairman of the Board’ and showcases dancing by some of the best around. What makes it fun is that “Come Fly Away” becomes a different way to listen to some of your old favorites. (Led by conductor/pianist Robert Cook, the 14 piece band thrills, with an impressive reeds section in particular, and really provides the push from peaceful listening session into show.) The band backs up many superb recordings of Sinatra’s work, ranging from the 1940s on into 1980. Soulful melodies “That’s Life” and “I’m Gonna Live ‘Til I Die” were refreshing as I generally don’t hear these every day. The songs that never seem to go out of rotation are also present—“Luck Be a Lady,” “Starlight,” “New York, New York,” and “Body and Soul” among them.
And then of course, the dancing. (Though again, not my thing) it is conceived, choreographed, and directed by Twyla Tharp and is admittedly outstanding. I noted that there were fourteen dancers on stage in the show with a seemingly new mix each night; performers rotate in and out, performing some nights and not others, which is no wonder due to the sheer energy and effort it must take to put on such a spectacle. But the demands of this type of performance is old hat to most up there—many graduated from prestigious ballet academies, such as the Royal Ballet School, and have been touring professionally in dance intensive shows like “West Side Story,” “Dirty Dancing,” “Saturday Night Fever,” and “Fosse,” to name a few, for many years. Sadly, it is difficult to pinpoint who is who and give them individual props; though names are given to cast members in the program, they are never referenced in the show. Characterization can be seen though, and the stereotypes are present—the geeky innocent couple, the sex pot, the tease, the “big man on campus” type. Skimpy costumes and moments of striptease don’t hurt in making these entertainers that much more likable.
This is where I cease praising “Come Fly Away” and get a bit critical, however. Yes, you could suss out some characters in the mix, but the choreography was so front and center (and stagnant/repetitive in places) that there was no storyline. I would have welcomed a longer show (and intermission) for some speaking interspersed. Look at shows like “Mama Mia!” where the music is predominant; though songs are not always introduced organically into the mix (in fact, they are quite forcefully shoved into plot lines at times) at least there is a sense of fluidity involved in moving from song to song. In “Come Fly Away” we are taken from each number with no visible theme to support the transition. Also, though again, I am impressed with the choreography and the skill involved in the execution of it, I would have liked to have seen the pace slow a bit in places—it didn’t seem to matter that the song was up-tempo or not—energy and pace was at a seven (or higher) always.
This is not to say that “Come Fly Away” is not to be seen. For those that grew up listening and loving Sinatra, how are you going to turn down a show predicated on old favorites crooned by a legend and young artists demonstrating their skills? Perhaps it’s “Witchcraft,” but I am still charmed by this imperfect piece.
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