A long time ago, Ezekiel saw a wheel in the middle of the air. It was not until the dawn of the 20th century that Wilbur and Orville Wright came along, cracked the code, gave man wings, and soared into the air themselves. So far as we know, they were first to do so. Well, there was Icarus, but I don't think he was human.
History is whimsical. Who would have thought these two modest, ordinary brothers at work in their obscure Dayton, Ohio, bicycle shop could monumentally change the future of mankind? A new millennium was around the next corner—whether we knew it or not, the time was ripe. Someone would have done it if they hadn't. But the Wright Brothers did it. Kitty Hawk salutes them, and so will you when you see it.
Director Jules Aaron smoothly pilots Kitty Hawk to a safe landing in its world premiere. The musical by the bicoastal writing team of Sukey Smith (of Santa Monica, Calif.) and Herman Raucher (of Cos Cob, Conn.) takes on the unpretentiously ingratiating, sweetly appealing, old-time American virtues of its protagonists while making it clear that Orville and Wilbur Wright are heroes whose vision, courage, and staunch character are not sufficiently recognized. This musical makes you want to know more about the ordinary/extraordinary brothers who taught men to fly.
As we see here, the Wright brothers had no choice. They were chosen. A muse is sent to egg them on, anthropomorphized into the sprightly human flesh of Kirsten Benton as Kitty Hawk. Benton is the actress who summoned the enchantress spirit of Louise Brooks in the 1993 production of Wedekind's Lulu at Hollywood Moguls. Here she plays a different kind of charmer, one with mischievous gamine vivacity and high good spirits. The brothers couldn't have done it without her.
In the role of obsessively sky-driven Wilbur Wright, Stan Chandler displays an endearingly earnest, intense but gentle dedication. He delivers his final song, "Send Word Home" with breakthrough power and passion. As younger brother Orville, Reed Armstrong's good humor, good looks, and youthful high exuberance are mighty appealing. Armstrong displays versatility and acting chops with his subtle suggestion of age in later scenes. Richard Israel becomes involved with the Wrights' endeavor, and also with their loyal sister Katherine (Jennifer Copping), as Charlie, the mechanic. Israel scores high with his bouncy soft-shoe song and dance ("My Feet Are Happy on the Ground"), reminiscent of Donald O'Connor.
Crafty plotters against the brothers' patent rights and claim to be first in the sky are three stooges: plummy-voiced Steven Einspahr, Patrick Morgan, and Clay Storseth. As townspeople and others, Jennifer Cousin, Carrie Frymer, Wendi Bergamini, Jeni C. Wilson, Daniel O'Callaghan, and Melissa Karp enact roles as needed.
Don Gruber's simple, shed-like set pleasantly suggests the clean space of sky, workshop, and hangar. Many of the 15 cast members are usually present on the set, as participants or onlookers around the edges. Upstage at either end, the five-member musician combo, led by Gregory Dixon on piano, is also present throughout. Stephen Young's lighting contributes emphasis and aura. Sound is by Steve Goodie, choreography by Lee Martino. Shon LeBlanc's costumes of course are all they should be. There's a considerable rise in chic content when action shifts to Paris.
Throughout the nation on Dec. 17, 2003, we will celebrate that day at Kitty Hawk when in 1903 a couple of obscure bicycle-shop proprietors soared aloft to prove man could fly. After Wilbur and Orville, there came Charles Lindbergh, Amelia Earhart, men on the moon. What's next? Whatever it may be, Kitty Hawk reminds us who was first in the sky.
"Kitty Hawk, The Musical," presented by and at the Court Theatre, 722 N. La Cienega Blvd., W. Hollywood. Thurs.-Sat. 8 p.m., Sun. 2 p.m. Oct. 20-Dec. 17. $25. (323) 655-8587.