Act Two, set in and out of the Pacific Ocean, mostly is the joint Malibu trip of the suave quartet, a melding of their various trepidations, desires, insecurities, unrealized past traumas and expansive mutual creativity. In its stronger first act, it seems like "Flying Over Sunset" really wants to explore the binary conflict that revolves around the notion that our brains contain far more than we think we remember and that, under the influence of a psychedelic like lysergic acid diethylamide, deeper insight might be possible. On the plus, good-trip side, this offers greater personal enlightenment and self-knowledge. On the minus, bad-trip side, it risks the danger of being overwhelmed by sensory experience from the past that we'd all be better advised to keep hidden. But that rich, musical-friendly idea — akin to a debate about romantic poetry and whether 'tis better to have loved and lost than never to have loved at all — ends up being swallowed by repetitive and thus boring celebrity biography. Moreover, the show has a real problem with doing the same thing over and over again, or at least that is how it feels. From L to R - Michele Ragusa, Carmen Cusack, Kanisha Marie Feliciano in "Flying Over Sunset" (Joan Marcus) Much of Act Two revolves around Grant, born working-class Archibald Alec Leach, trying to heal his inner child following a hardscrabble youth in which his mother preferred to dress him in girls' clothing without regard for his preferences. That kid is personified by Atticus Ware, who is a superb dancer and performer, as, is Yazbeck. But that quest was played out in Act One and while I imagine the creators of this musical intended Act Two to intensify the theme, it actually gets stuck in a repetitive groove. Nothing during the big trip really feels at stake, since we know they all come back alive. Thus the show really struggles to maintain narrative tension. Does this show make you feel like you are on LSD? Not really. The show is too talky and grounded in realism to be truly trippy. Robert Sella, Harry Hadden-Paton, Carmen Cusack and Tony Yazbeck in "Flying Over Sunset" (Joan Marcus) There certainly are some cool scenic elements, a fusion of retro elegance with psychedelic influence, and the show has one knockout tap number in Act One. Kitt's score evokes lush Hollywood strings with deconstructive digressions; as a soundscape suggesting both the Golden Age of Hollywood and Timothy Leary, it is a very cool song suite and beautiful, too.