Ke Meng

The dreamlike set designed by Stewart J. Charlesworth features an angelic bird made of writing scratches, and Jack Weir’s lighting transitions scenes swiftly with Sam Vincent’s melodic piano score. With such delicacy, Fly More Than You Fall is a well-crafted musical not lacking in its visuals but could benefit from exploiting its core message more profoundly.

As a more intimate theatrical space, Gillian Lynne theatre fully waves the magic of Es Devlin’s rotating Wall Street office and Sam Mendes’s epic directorial hands: Philip’s (Heffernan) wisdom and “strategy” presented through the three-card monte, Bobbie’s (Krohn) epic dance into his grave, and the contrasting scene where Overshown plays several bankers’ suicides when Bobbie was courting the once-divorced Ruth. Cat Beveridge’s piano triumphs not simply as the soundscape, but as a symbol of New York as the magical music box, easily stirring your emotion.

The overall acting is a bit hammed, rich in strong, exaggerated movements and fighting scenes choreographed by Jade Hackett. In contrast, Harington’s acting exemplifies some self-containment and restraint. In the second act where the discursive part of the therapy begins, Jim writes a letter to his “queen” Kaneisha, illustrating a typical white, straight, heterosexual male ego who only talks but does not listen. Harington’s crystal-like begging tone with his slightly awkward southern accent adds a layer of fragile sincerity, feeling more complex and multilayered.