RSS

Tag Archives: On a Clear Day You Can See Forever

Five Reasons that “On a Clear Day You Can See Forever” is Closing so Soon

By now, you’ve heard that new Broadway revival of On a Clear Day You Can See Forever will be closing up shop on January 29th, 2012. Maybe you are wondering: Why is this show closing?

Here’s the top 5 reasons I think On a Clear Day You Can See Forever is closing:

5. Shortage of Tony Nominations Come May - I have a feeling that the Tony committee might be overlooking this revival come May. With other huge revivals like Evita and Jesus Christ Superstar I don’t think that On a Clear Day… stands a chance. You also have to throw in the newly refreshed and revamped Godspell and Porgy & Bess into the mix and both of those shows are still running. There might be a few nominations in the technical categories but not for Harry Connick, Jr. or anyone else, though we have heard so many positive things about Jessie Mueller’s Broadway debut. Actually, come to think of it, that’s the only positive thing that I’ve heard about this production. (Watch a video of Mueller performing below.) If the producers don’t think they are going to get any Tony buzz, then it’s a lot easier to close a show “early”.

4. Not Enough Starpower to fill the St. James Theatre  - We can all agree that Harry Connick Jr. has been very successful on Broadway. Generally, the critics have loved him and his fans have flocked to the theatre to see him perform. The question is, can he fill a 1300-seat theatre eight times a week? That’s a total of 10,400 people a week, 41,600 (roughly) a month. That’s a crazy amount of people! I think he has enough draw and appeal to fill seats, just not enough seats in this case. (Check Playbill Vault for all of the stats.)

Photos by Krissie Fullerton - Playbill.com

3. The St. James Theatre is the Wrong Theatre - The St. James Theatre was selling out when The Producers opened April 2001. Since then, it hasn’t really had a hit. Recently, Hair (the touring cast), American Idiot and Finian’s Rainbow have all struggled trying to fill seats. All three of those shows probably could have run for a longer time in a smaller theatre. (I’ve been saying all along that American Idiot should have never been produced at the St. James Theatre.) Though producers thought On a Clear Day, with a huge star, could sell seats, I think they continue to under think the power of “selling out” in a smaller theatre. (See The Book of Mormon as an example of pure genius when it comes to marketing and selling a show.) Overall, it has done fairly well, but an average of 75% attendance over the last two months just isn’t enough to keep the show afloat during the Broadway winter slump.

2. The Critics Hated It - There are some shows out there that the critics, regardless of what they say, can’t kill like The Addams Family. Other shows, the critics have an easier time swaying the public. I think On A Clear Day falls in the latter category. People knew that On a Clear Day… didn’t do very well the first time on Broadway (even though it ran for a year), so they were waiting to hear what the critics had to say. Ben Brantley of The New York Times said, “This wholesale reconception of a fluffy, muddled 1965 musical about reincarnation appears to have given everyone who appears in it — including its charismatic star, Harry Connick Jr. — a moaning case of the deep-dyed blues.” Ouch. Stage Grade gave the entire production a C- overall. The Broadway Critic Blog posted some of their thoughts back in previews, and anticipated the nasty reviews and early closing. With iffy reviews and okay word-of-mouth, the ticket sales just weren’t at the producer’s expectations.

1. Make Way for Leap of Faith -  When a show is not living up to expectations and there’s another show in the pipeline, then producers jump on the chance to push another show into the theatre. This happened with On a Clear Day You Can See Forever. Leap of Faith was eyeing Broadway for a fall 2012 opening, but when they heard that On a Clear Day… wasn’t doing as well as predicted, then they jumped on the chance to put Leap of Faith into the centrally-located St. James Theatre. They even announced it’s opening before On a Clear Day… posted its closing notice. (Tacky, if you ask me.) But let’s see if Leap of Faith can do what On a Clear Day… couldn’t.

Why do you think On a Clear Day You Can See Forever closed so soon?

 
9 Comments

Posted by on 01/19/2012 in Broadway, News

 

Tags: , ,

Thoughts about “On a Clear Day You Can See Forever” Preview – 11/19/11

Written by: Dan Mason

It’s not unheard of for Broadway producers to gamble on reviving a dated piece of material and using it as a star vehicle for Broadway royalty. Just last season Kristin Chenowith packed houses at the Broadway Theater for the critically panned, but commercially successful Promises, Promises. Given the fact that the show recouped a sizeable investment, it seemed like an intelligent risk to team Harry Connick Jr (The Pajama Game) with Michael Mayer (Spring Awakening, American Idiot) and let them take a crack at the 1965 flop, On a Clear Day, a show largely praised for its score, and crucified for a book about reincarnation, ESP, and other psycho-babble nonsense.

Mayer has completely re-conceived the show, taking the original story about an eccentric young woman, who was an English aristocrat in a past life, and turning it into a story of a young, gay, florist, who was formerly a female jazz singer. David Turner (Arcadia) plays David Gamble,  the love interest for Connick’s recently widowed psychoanalyst, Dr. Mark Bruckner. Except he’s not really the love interest, because middle-aged females aren’t paying to see their beloved Harry Connick romancing a man on stage. So the real love interest is the jazz singer, alter-ego, Melinda Wells (Jessie Mueller in her Broadway debut).

Confused yet? Because that love triangle is only part of what’s going on in this cluttered mess. Drew Gehling (Jersey Boys) is David’s badly treated boyfriend, Warren. Kerry O’ Malley (Into The Woods, White Christmas) is completely wooden and uninteresting as a medical colleague who is secretly in love with Dr Bruckner.

There are many different things happening in Clear Day, and the problem is that it’s hard for the audience to feel emotionally invested in any of it. The notion that Dr. Bruckner could be in love with a jazz singer who died 30 years before is completely implausible and hard to buy into. Yet, you don’t believe for a second that the doctor has a true romantic interest in David Gamble. In fact, Bruckner comes across as largely uncaring about his patient, using him only to gain more knowledge about a dead jazz singer. The only character that elicits any sympathy through the first two and a half hours is David Gamble’s long-suffering boyfriend Warren, but he gets treated so badly that you just wish he would run off and find someone new who actually appreciates him.

All that being said, there is one genuinely beautiful scene in the last 15 minutes, where the show exquisitely explores the one relationship that is compelling. That is when Dr. Bruckner confronts the idea of death and tries to find closure over the death of his wife. It’s a powerful scene, and one of the few moments in the show where Connick appears emotionally connected to anything happening onstage. Unfortunately, the payoff still doesn’t justify the stupidity of the previous two and a half hours, where we are treated to ridiculous dialogue about reincarnation, ESP, and even a song asking whether it’s possible for one to learn of “pre-incarnation” and know what their next life will be.

The pacing of the show is something that needs to be addressed as previews continue. The first act checks in at 80 minutes, but feels like two hours. The second act does move along better, although the songs that feature Dr. Bruckner’s students could be cut completely, as they serve no purpose to the show at all. The set design is an eyesore, using a black and white, checkered, opt art look that gives way to bright, vivid colors, that may be appropriate for the 1970′s era, but stand in stark contrast to a show that is not “bright” at all.

The audience reaction from the Connick fan base that I spoke with at intermission seemed to be mixed, with some women just excited to see him onstage, and others who found the story to be ridiculous. One couple sitting next to us left at intermission and never returned. It will be interesting to see whether Connick’s name alone can get this show through it’s run. It will likely have to because I think the script problems are too great to be fixed in previews.

 
10 Comments

Posted by on 11/21/2011 in Broadway, Theatre Review

 

Tags: , , , , , ,

 
Follow

Get every new post delivered to your Inbox.

Join 87 other followers