![]() To the biphobic/homophobic fans of Green Day: you guys aren't true fans if you can't tolerate them, or their sexual prefences. Billie can still be bi and be in love with Adie. Why would Billie lie about being bi? As for "but he loves Adrienne, he can't be bi! hes with a girl" Not all bisexual people fall in love with someone of the same sex, it just means they like the same sex. I have the article to prove it, and Billie quotes"I think I've always been bisexual." To everyone who says he isn't, or that it's just a phase, it isn't. This new adaptation gets the scale right, but doesn’t solve the flaws baked in to this simple and strange musical.General CommentNo idea why I'm replying to an old topic, but this song is about Billie Joe coming to terms with his bisexuality. Gorgeously sung, and charming throughout, the romance at the heart of the plot is unconvincing and largely absent from the stage. Perhaps this revival should signal that the puzzle of “On a Clear Day” is definitively unsolvable.īottom Line: Irish Rep revives Lane and Lerner’s “On a Clear Day You Can See Forever”, a middling oddball of a musical from 1965. Instead, she and her earnest ensemble-aided by a handsome five piece band that includes a harp-have delivered a well-sung, enjoyable, if baffling and unremarkable, show that gives audiences a chance to hear Lane and Lerner’s songs anew, just as it did for “Finian’s Rainbow” (Lane’s other hit) last season. Moore-as adapter and director-hasn’t fixed the unfixable problems at the heart of “On a Clear Day”. To Irish Rep’s credit, that was clearly the vision for this production, with lovely, water-color projections by James Morgan that seamlessly effect scene changes and set a phantasmagorical mood for this strange, time-travelling story. Today, musicals can be small and successful. Instead, they exist to satisfy the big showstopper expectations of a mid-1960s Broadway audience. None progresses the plot or reveals much about the central characters. Minnelli cut the ensemble numbers from the film, and I understand why. In the past, the characters never interact as themselves, and so the audience is largely left to fill in the gaps of their supposed budding romance on their own, nevermind the ethics and gender politics of it all. In the present, Daisy is rather dim and Mark rather cerebral. Unfortunately, there isn’t much chemistry between the two, and that is largely a flaw of the writing. Bogardus sound magnificent as they sing Lane and Lerner’s delightful standards: “ Hurry, It’s Lovely Up Here”, “ Melinda”, “ What Did I Have That I Don’t Have?”, and “ Come Back to Me”, in addition to that catchy title song. I missed that 2011 Broadway revival, but cannot imagine this sweet and cozy show playing at the grand St. Setting aside whatever faults are baked in (and there are plenty), the good news is that this small and intimate musical is given the small and intimate treatment it deserves at the 146-seat Francis J. Most scenes of this simple, drawn-out musical consist of a small number of characters-mainly Daisy and Mark-though there is a nine member ensemble, each given character names in the program though they move almost en masse, and remain mostly uncharacterized. Taking her on as a patient, Mark unlocks Daisy’s past life as Melinda Welles, an 18th century English aristocrat caught up in a fatal love affair Mark then falls for Melinda, and then for Daisy. ![]() And so she joins some friends at a hypnotism class hosted by psychiatrist Mark Bruckner (Stephen Bogardus), who soon realizes Daisy’s unique talent for extrasensory perception (aka ESP). In this version, Daisy Gamble (Melissa Errico), a quirky girl from Queens who talks to flowers and can anticipate the phone ringing, decides her smoking habit is the cause for her chronic unemployment. The Irish Repertory Theatre in Chelsea picks up the torch to present yet another new adaptation, this time by artistic director Charlotte Moore. and Jessie Mueller played only 57 performances in 2011. And a heavily revised, gender-flipped, jazz-inspired, first Broadway revival starring Harry Connick, Jr. In 2000, City Center Encores! presented a concert version with Kristin Chenoweth that marked my first Encores! experience. A much more successful 1970 film adaptation by Vincente Minnelli starred Barbra Streisand. The original production lasted a mere 280 performances, receiving cold notices and no Tony Awards. ![]() In truth, Burton Lane’s score far outshines the show it services, a middling oddball from 1965 that has nevertheless continued to enchant audiences, and present writers with a puzzle so many have tried to solve, for decades. The haunting melody of the title song from “On a Clear Day You Can See Forever”, gorgeously sung amid the overture, signals the bounty of musical theatre majesties to follow in this bizarre but charming musical. ![]()
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