![on a clear day movie on a clear day movie](https://freecomicbookday.com/SiteImage/FBCatalogImage/STL187927.jpg)
(We’ve finally found something too gay for Broadway!) And the psycho self-seriousness of Dr. (Burton Lane’s great brocaded musical tapestries obscure this fact, and Doug Besterman’s splendid new orchestrations could fill a blimp hangar, but the chorus numbers - along with the chorus itself - are unmistakably extraneous and strained.) Beyond the creaks of the reupholstered book, though, Mayer and book writer Peter Parnell can’t quite commit to a full-on bisexual love triangle. One of Clear Day’s many problems, then and now, was a congenital defect: It’s a chamber musical trapped in a Broadway extravaganza’s body. He’s actually evading it with a swan dive into the golden past.ĭoes all this pan-temporal dramaturgical gerrymandering work? Not entirely.
![on a clear day movie on a clear day movie](https://cdn3.belgianmovieposter.com/12240-thickbox_default/on-a-clear-day-you-can-see-forever.jpg)
Sharone Stein, played by Kerry O’Malley), Bruckner looks like he’s dipping more than a toe into the sexual revolution. To concerned observers (especially his quietly devoted colleague Dr. Little does David know, Bruckner’s really interested in Melinda (shining Chicago import Jessie Mueller), a brassy forties jazz chanteuse.
![on a clear day movie on a clear day movie](https://occ-0-300-299.1.nflxso.net/dnm/api/v6/0DW6CdE4gYtYx8iy3aj8gs9WtXE/AAAABTNfu7shJj5je5i_gwLWExBEpRh51JIl3hInA_pOsWbhivROaZVgPQdImcm2BMxR2GOPFdmitzq0JpFwHlj7pUgg2YOpzxqPLA.jpg)
Bruckner (Harry Connick Jr.) is a very straight, very grief-stricken widower who sends mixed signals to his patient when he keeps inviting him back for private sessions. (He retains Daisy’s literal flower power: S/he makes buds burst forth by talking and singing to them.) And voilà! A show generally dismissed as the Greatest Generation’s bumbling attempt to get hip to hippiedom is transformed into a modern-day experiment in double-reverse nostalgia. Mayer nudges the story up a decade, after Stonewall, to 1974, throws in songs from the bizarro 1970 Streisand film adaptation (and a few Lerner-Burton Lane tunes from Royal Wedding), and then adds a new wrinkle: Daisy is now David ( Arcadia’s David Turner), a daffy, femme-y florist. Under hypnosis - to which she’s all too susceptible - Daisy appears to regress to a past life, and Bruckner finds himself falling in love with “Melinda,” a seventeenth-century proto-feminist superwoman, while Daisy mistakenly believes he’s falling for her, and an astral love triangle is born. Mark Bruckner, a no-nonsense Freudian analyst. Alan Jay Lerner’s book (helpfully and pointedly furnished to critics for comparison) centers on a possibly clairvoyant young ditz named Daisy Gamble treated by Dr. The ’65 Clear Day is built on one of the more famously bad libretti in Broadway history. It’s not as if there’s much to desecrate here. This new Day has flaws and foibles of its own, but it’s far more elegant than the original show and a valid (if more than slightly cockeyed) entertainment on its own weird merits. Out of the coral-colored protoplasm of the past, Michael Mayer has raised up a weird chimera: His “reincarnation” of the 1965 oddity On a Clear Day You Can See Forever may be more platypus than unicorn, but for a platypus, it’s surprisingly light on its webbed flipper-feet.