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 MORRISS
GORDON ELKIN
ASHLEY GIBSON
BRYAN CHAMBERLAIN
SUSAN SANDERS
MIKE ARSENEAULT
LARRY GIBBS
STEPHANIE DOUGLAS
PETER LOUCAS
ELIZABETH MORRISS
GORDON ELKIN
SYNOPSIS:
Quirky Daisy Gamble sees herself as an unremarkable person, even though she can make plants grow
remarkably, predict when a telephone will ring and tell where to find an object that someone else is looking
for. Her current problem, though, is her nasty smoking habit, which will interfere in her fiancé's chances for a
job with great benefits. She seeks help from a psychiatrist to stop smoking. When he hypnotizes her, it
becomes evident that she could have lived a previous life two hundred years ago, as "Melinda," who died in
her late twenties from circumstances beyond her control. News leaks out about this case of possible
reincarnation at the psychiatric research clinic, and Daisy accidentally discovers that she is the "Melinda" at the
center of the growing controversy. In her angry confrontation with the psychiatrist about the matter, she
realizes at last how special she really is.
Quirky Daisy Gamble sees herself as an unremarkable person, even though she can make plants grow
remarkably, predict when a telephone will ring and tell where to find an object that someone else is looking
for. Her current problem, though, is her nasty smoking habit, which will interfere in her fiancé's chances for a
job with great benefits. She seeks help from a psychiatrist to stop smoking. When he hypnotizes her, it
becomes evident that she could have lived a previous life two hundred years ago, as "Melinda," who died in
her late twenties from circumstances beyond her control. News leaks out about this case of possible
reincarnation at the psychiatric research clinic, and Daisy accidentally discovers that she is the "Melinda" at the
center of the growing controversy. In her angry confrontation with the psychiatrist about the matter, she
realizes at last how special she really is.
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DIRECTOR FIXES SHOW - ON A CLEAR DAY
Wed, Oct. 18, 2006
By Mark Andrew Lawrence
Theatre Critic
Front Row Centre
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
show requires the work of a talented director.
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 focussed 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.
Wed, Oct. 18, 2006
By Mark Andrew Lawrence
Theatre Critic
Front Row Centre
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
show requires the work of a talented director.
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 focussed 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.