On a Clear Day You Can See Forever NYC Reviews and Tickets

"It can’t be fixed. The pleasures of 'Clear Day' are so intertwined with its absurdities that no theatrical version can separate them. You have to enjoy it for what it is, or not...'On a Clear Day' doesn’t want your helpful interpretation. It’s truly about what it says it’s about. Nor does the Irish Rep’s version, staged and adapted by Moore, make a bid for a charitable deep read...If everything is flat-out, that doesn’t mean it’s unpleasurable. Any chance to hear Errico sing is a chance worth taking."
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"It’s a love triangle with two sides and no point...But the songs are worthy of resurrection...They’re all beautifully delivered by Errico, Bogardus and the small but big-voiced ensemble...Errico’s performance initially seems strained...but she’s wonderful as Melinda, and her Daisy gains strength as the character becomes more empowered. And while Bogardus begins as too docile, the actor’s innate charm wins you over. For lovers of rarely seen Broadway relics, this revival may do the same."
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“The thirty-year-old Irish Rep is particularly well placed to tap into the magic necessary to make a musical soar. That flight begins about fifteen seconds into the director Charlotte Moore’s revival of this 1965 Broadway show, as the chorus launches into a richly harmonic rendition of the title song, and the gorgeous high never really lets up...Lerner brought a contemporary charm to this tale, amplified here by Errico’s musical-comedy mastery.”
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"The abridged, scaled-down production helps one overlook the sheer clunkiness of Lerner's book...This rendition also serves as a valuable reminder of the quality of the show's melodic score...Moore has tightened the book considerably...but there's little she can do to make the proceedings any less silly...The show's strongest element is its beautiful score...Only the most curmudgeonly could resist its undeniable charm, which might easily get lost in an overblown production."
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“A nice, albeit mediocre production of a show with a boring book and a spectacular score...Errico is no Barbara Harris, but she sings with appealing gusto. Bogardus brings dignity to the role of her romantic shrink, if not much sex appeal. Unfortunately, the supporting cast poses, reacts, and overacts all over the place. The result is a perfunctory yet entertaining version that is, at least, a vast improvement over the unspeakable, short-lived 2011 Broadway revival.”
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“Trouble is, despite a few gorgeous songs like the title number (which the ensemble performs in stirring fashion), 'Melinda' (which Bogardus sings with gusto), and 'She Wasn't You' (as shattering a vocal performance as we've ever heard out of Errico and Cudia), 'On a Clear Day You Can See Forever' just isn't a very interesting show. Still, it's rare to hear voices like these, and unamplified, too. If only it could have just been a concert."
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“Moore, in the interest of creating a chamber version of the musical, tampers with the script, eliminating two major characters...She has trimmed the book back to nothing, the better to highlight the songs...What remains are the delightful songs and the cast...Moore's direction is hampered by her script, which makes it impossible to believe that anything real is happening between Bruckner and Melinda, but her creative team makes many fine contributions. "
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"A clumsy adaptation of Lerner's flawed, original libretto by artistic director Charlotte Moore and a star who seems adrift onstage conspire to make this 'Clear Day' as murky as it is tedious...The book was always considered a hot mess, but, in fairness to the score, there are some rhapsodically beautiful songs contained within it...Moore's stupefying adaptation eliminates characters, songs and plot but, somehow, doesn't bring either clarity or insight to what remains."
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"Thoroughly charming new production...This 'Clear Day' remains wacky, breezy and quaint, in the best sense, in following how an unlikely meeting of minds leads to a mating if souls. Enrico and Bogardus are enchanting together, and independently...If 'Clear Day' won’t entirely transport you back to what now seems like a more innocent time, it’s the perfect tonic for an early summer evening."
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"'On a Clear Day' has finally been transformed into a chamber musical. The good news: The sunny show works beautifully on Irish Rep’s postage-stamp-size stage, and Lane’s music sounds gorgeous with an on-stage five-piece orchestra...The not-so-good news: Moore hasn’t quite solved this Rubik’s Cube of a show...Sure, the hypnotism premise is a bit dated, but the idea of reincarnation isn’t so wackadoodle. And oh, those tunes!"
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"With Lerner's witty, surprising lyrics and Lane's lush music, this an aural treat. 'On A Clear Day''s quirky and unconventional heroine will continue to bewitch those who allow themselves to come under her spell. While the Irish Repertory Theatre's revival is not definitive, it is a pleasure to see the show in a relatively close rendition to the original show with some needed improvements."
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“A playful ensemble serving just the right amount of sugar to complement theories on human consciousness...Errico shines as a twofold character far from your typical ingenue...This feel-good musical remains as good for your spirit as a drive through the country. Errico and the entire ensemble are a warm-toned delight to experience, better enjoyed in the intimate house than on a booming Broadway stage, where the cast’s many subtle charms would be lost.”
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“Leave it to the invaluable Irish Rep's Charlotte Moore to rescue ‘On a Clear Day You Can See Forever’ from that corner of the theatrical attic dustbin of musicals that despite considerable assets never managed to rise to genuine hit status...I can't think of a more ideal Daisy than the golden-voice Errico. And Bogardus is a well chosen Dr. Bruckner...A musical that even in its most problematic versions, was praised for its score.”
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"The production proceeds at a pace that is one gear less than energetic, but which allows for full appreciation of the show’s eccentricities...Beyond the irrepressibly catchy title song, there are a handful of fun gems that only sometimes have anything to do with the plot, as well as a leaden love song or two that threaten to weigh down the action...Cudia’s straight-forward rendition of Edward is a snooze...Errico's Daisy is full of flighty charm and she finds the proper chemistry with Bogardus."
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"As wisely and clearly directed and adapted by Charlotte Moore, 'One a Clear Day…' sidesteps the awkwardness that has always caused problems within every production...The plot may live in the weeds, but the musical score resides in the blossoming flower of Errico, Cudia, and company. It grows high up into the sky, allowing us to truly see forever, and that view is clear and gloriously fun. Just do yourself a favor, and don’t think too hard about it all."
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“Much of ‘Clear Day’s’ book music is uninspired; however, buoyed up by its lyrics, the musical comedy is enjoyable and provides a glimpse into layers of relationships often left unexplored...Errico’s Daisy brings pathos and ethos...Bogardus gives the good Bruckner that character’s own style of dual personalities...Moore deftly moves the action to and from the 1960s and the 1900s...The competent cast members deliver energized performances and pleasing renditions of the music and lyrics.”
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“A production that attempts to find simplicity and clarity in an otherwise wacky and even preposterous script. It succeeds at some turns through sheer talent and conviction but gets cloudy at others...Lyrics are forgettable at best and downright silly at their worst. However, the music is lovely...The performances in this production are truly worth watching...The ensemble sings beautifully and exudes an eye-catching stage presence in spite of a script that offers them little to play with.”
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"The seemingly ageless Errico, adapting a slightly over-pronounced New Yawk accent, shows off a comic flair that few of her previous roles have allowed her to exhibit, while still capturing Daisy's innate vulnerability and lack of self-confidence. Her well-known soprano is also rarely in evidence, as she sings confidently and robustly in a lower range on the deliciously clever 'Hurry, It's Lovely Up Here,' 'What Did I Have That I Don't Have?' and 'The S.S. Bernard Cohn."
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"Without those three special songs…the show would be little more than a Broadway footnote. The other songs…are simply unable to overcome an untenable script that has foiled all comers...An ersatz, two-dimensional quality prevents anything the ensemble or the leads do from being affecting or humorous…Bogardus and Errico appear miscast. Regardless of their personal charm, attractiveness, and musical talents, there's a forced, inorganic connection to their characters."
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"Burton Lane and Alan Jay Lerner’s score remains lush and melodic, even with a string-heavy five-piece band. And it’s a treat to hear such talented Broadway veterans as Melissa Errico and John Cudia sing without the interference of amplification. Unfortunately, both acts of this revival get off to a sloppy start, and Moore’s rewrites arguably create more problems than they solve...What does delight is Errico’s interpretation."
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"Nothing can change the cockamamie story that has bedeviled every production of 'On a Clear Day You Can See Forever,' but nothing can also change the appeal of the songs...By cleverly paring down the original in her adaptation and direction...Moore has placed emphasis on the musical numbers, which is all to the good...The overall production gives audiences the opportunity to savor anew the music and lyric accomplishments while shrugging away the ridiculous plot premise."
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“Most cuts and changes here don’t serve the story. Any successful iteration needs to be light handed and somewhat magical. This is not. We have little but the music and moments to sustain...Though Melissa Errico has a lovely voice, her comes-and-goes, ersatz New Yawk accent is dreadful. Nor has she any instinct for comedy...Male leads fare better...Irish Repertory Theatre has mounted and Moore has directed innumerable worthy productions. Songs are not enough. What happened?"
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"Burton Lane’s score far outshines the show it services...Gorgeously sung, and charming throughout, the romance at the heart of the plot is unconvincing and largely absent from the stage. This new adaptation gets the scale right, but doesn’t solve the flaws baked in to this simple and strange musical."
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"The singing, at least, is crisp and tuneful, but in every other way the Irish Repertory Theatre’s production of 'On a Clear Day' is modest, too modest...The size and conception of the production plays against it...Either the production has miscalculated the stage it’s on, or the small Irish Rep stage isn’t the best partner for whatever the production has in mind...'On a Clear Day' both feels pallid and plodding, and also big-hearted and determined."
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“Errico’s expressive voice and impressive range are as crystal clear as her irresistible characterizations...’On a Clear Day You Can See Forever’ offers a flashback to the paranormal fascination, contemporary art, and great musical theater of the Sixties, and an enjoyable two hours of escapist summer entertainment. There are no heavy political statements or staggering morals here, just some silly mid-century fun and romance.”
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“I loved Moore’s canny direction and the accomplished, thrilling lead performances of Errico and Bogardus. Furthermore, the fine ensemble strongly undergirded the dynamism of the revival/adaptation. Indeed, this production soars as a delightful theatrical experience full of whimsy, joy, and charm...You will have an extraordinary and uplifting time watching the team beautifully, seamlessly render the illusive with authenticity.”
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"What stands out are Lerner's brainy lyrics and Burton Lane's glorious music, creating a melodic score that brightens the foggiest day. Add to this, Melissa Erica, Stephen Boards, John Curia in small snappy cast of singers and dancers, and there is good reason to head to the Irish Repertory Theatre...By stressing the superb Lerner and Lane songbook rather than the screwy Lerner libretto, Moore offers a musical major-league summer refreshment in an efficiently scaled down production."
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“While the production doesn’t turn this half-ugly duckling of a show into a beautiful swan, it certainly makes the point that it’s worth trying...Worth the time spent clucking over the bumpy script...Errico delivers her big numbers with grand aplomb, giving full value to Lerner’s witty, wise and expressive lyrics and Lane’s lush melodies...But Daisy’s oblique kookiness is not a natural fit for her...When a show boasts a score like this one, maybe it’s time to just ignore its deficiencies.”
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“It’s hard to buy Bruckner’s coming around to loving Daisy more than Melinda...And Moore’s adaptation, with absent characters and tampered-with punchlines and poorly engineered song cues, is not the answer. Nor is her busy direction, with characters gesticulating and throwing themselves on the floor a lot...Is it still fascinating, brimming with paranormal wonders and graced with an absolutely magnificent score? You bet.”
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"It's a story of hypnotism and reincarnation, but the orchestra in this production is not big enough to present the music in a manner that engrosses the audience...This is a messy production due to its small size. But Errico excels in the musical numbers. She is the one reason to attend this show."
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“A fast-moving, intimate production...The book does show some signs of being dated...But in character development, the play holds up surprisingly well...‘On a Clear Day’s’ plot does what it must do: serve as a coatrack on which to hang some of the loveliest songs Lerner and Lane ever wrote...It doesn't hurt that here those songs are sung by three of the best performers in theater today...It is a moving and fun excuse to hear some of the best tunes of old Broadway.”
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