October 12 to October 28, 2006
| CAST |
| Dr. Mark Bruckner Daisy Gamble Edward Moncrief Mrs. Hatch Warren Smith Dr. Conrad Bruckner Muriel Bunson Preston / Trundle Flora Themistocles Kriakos |
JOE CASCONE
ASHLEY GIBSON
BRYAN CHAMBERLAIN
SUSAN SANDERS
MIKE ARSENEAULT
LARRY GIBBS
STEPHANIE DOUGLAS
PETER LOUCAS
ELIZABETH ROSE MORRISS
GORDON ELKIN
ASHLEY GIBSON
BRYAN CHAMBERLAIN
SUSAN SANDERS
MIKE ARSENEAULT
LARRY GIBBS
STEPHANIE DOUGLAS
PETER LOUCAS
ELIZABETH ROSE MORRISS
GORDON ELKIN
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Wednesday October 18, 2006
Theatre review by Mark Andrew Lawrence
Musical theatre fans who listen to the original cast recording of On A Clear Day You Can See Forever often wonder
why the show is seldom staged. The score by Burton Lane overflows with melody. What is missing from the CD is
the overlong and clumsy book that Alan Jay Lerner created. To reshape the material into a coherent
Enter Joe Cascone.
Having studied all the pre-Broadway and post-Broadway scripts he has prepared a version that is highly entertaining.
It helps that he has a dynamic leading lady. Her name is Ashley Gibson and whether playing the kooky 1960s waif
Daisy Gamble or the 18th Century bartered bride Melinda Welles you can’t take your eyes off her. She is
particularly effective in her solo second act ballad “What Did I Have That I Don’t Have” when she discovers the
doctor liked her better before. Two hundred years before.
That brings us to the story that Lerner concocted. While under hypnosis to stop smoking, Daisy Gamble reveals that
she lived a former life in 18th century England as Melinda Welles. The catch is that the Doctor finds himself falling
in love – not with Daisy but with Melinda.
The situation is ripe with possibilities but unfortunately Alan Jay Lerner was never able to solve the puzzle and make
it work. While the script's structural problems may never be 100% surmountable, Cascone manages to keep the
show focused by trimming the lengthy book scenes and letting the wonderful songs carry it.
The musical values are well taken care of thanks to the small ensemble led by Liane Fainsinger, who also provides
harpsichord accompaniment for the period sequences. These sequences give Bryan Chamberlain an opportunity to
pour his beautiful voice over the haunting love song “She Wasn’t You.”
It is a joy to see Gordon Elkin back on stage as the thinly veiled parody of Aristotle Onasis. His song “When I’m
Being Born Again” in which he schemes to leave his fortune to his future self was a rousing showstopper that got
the second act off to a lively start.
As the doctor/professor who discovers Daisy's secret past, Cascone himself employs a brusque Frasier Crane-like
demeanour notably to the tour-de-force "Come Back to Me." Contrasting with this is the understated passion and
longing he brings to the song "Melinda."
The transitions from present to past are ingeniously staged and helped in no small way by Gareth Crew’s sensitive
lighting design.
Cascone and company have made this problematic show work. Thanks to their efforts, and the melodious score –
not to mention the performance of Ashley Gibson - this production is well worth investigating.
Theatre review by Mark Andrew Lawrence
Musical theatre fans who listen to the original cast recording of On A Clear Day You Can See Forever often wonder
why the show is seldom staged. The score by Burton Lane overflows with melody. What is missing from the CD is
the overlong and clumsy book that Alan Jay Lerner created. To reshape the material into a coherent
Enter Joe Cascone.
Having studied all the pre-Broadway and post-Broadway scripts he has prepared a version that is highly entertaining.
It helps that he has a dynamic leading lady. Her name is Ashley Gibson and whether playing the kooky 1960s waif
Daisy Gamble or the 18th Century bartered bride Melinda Welles you can’t take your eyes off her. She is
particularly effective in her solo second act ballad “What Did I Have That I Don’t Have” when she discovers the
doctor liked her better before. Two hundred years before.
That brings us to the story that Lerner concocted. While under hypnosis to stop smoking, Daisy Gamble reveals that
she lived a former life in 18th century England as Melinda Welles. The catch is that the Doctor finds himself falling
in love – not with Daisy but with Melinda.
The situation is ripe with possibilities but unfortunately Alan Jay Lerner was never able to solve the puzzle and make
it work. While the script's structural problems may never be 100% surmountable, Cascone manages to keep the
show focused by trimming the lengthy book scenes and letting the wonderful songs carry it.
The musical values are well taken care of thanks to the small ensemble led by Liane Fainsinger, who also provides
harpsichord accompaniment for the period sequences. These sequences give Bryan Chamberlain an opportunity to
pour his beautiful voice over the haunting love song “She Wasn’t You.”
It is a joy to see Gordon Elkin back on stage as the thinly veiled parody of Aristotle Onasis. His song “When I’m
Being Born Again” in which he schemes to leave his fortune to his future self was a rousing showstopper that got
the second act off to a lively start.
As the doctor/professor who discovers Daisy's secret past, Cascone himself employs a brusque Frasier Crane-like
demeanour notably to the tour-de-force "Come Back to Me." Contrasting with this is the understated passion and
longing he brings to the song "Melinda."
The transitions from present to past are ingeniously staged and helped in no small way by Gareth Crew’s sensitive
lighting design.
Cascone and company have made this problematic show work. Thanks to their efforts, and the melodious score –
not to mention the performance of Ashley Gibson - this production is well worth investigating.