On a Clear Day You Can See Forever

"On a Clear Day You Can See Forever" at St. James Theatre, December 15, 2012 

Why?

Why change the focus of the story from Daisy, now David (David Turner) to the psychologist Mark (Harry Connick, Jr.) 

Why hire Mr. Connick to perform on Broadway and not let him do what he does best? Did none of the producers and/or creative team see Pajama Game?  "Hernando's Hideaway" turned that show on its ear, combined with the infused chemistry playing opposite Kelli O'Hara.  We get neither here.

Why not have him accompany Melinda's (Jessie Mueller) numbers, particularly "Ev'ry Night at Seven," among several others of which could have been beefed up to accommodate him.

Why give him book scenes that really require an actor?  He's a singer, not an actor.  Even here, he's not even trying.  He might as well be texting the performance in from his dressing room.  He sings solidly, but that, too, comes across as uninspired.

Why did he stick with this show?  It's painfully obvious that he'd rather be somewhere else.  Is he working his own slowdown in hopes of closing it before his contract expires?  That would seem remarkably inconsistent from his last outing.

Why take what was a questionable property and re-write the story to a period when the concept of homosexuality was still highly controversial?  If the idea is to ignore the doctor's struggle over the fact that the woman he loves is in the body of a man, shouldn't it be in a time when that isn't such a struggle?  There's no reason why Melinda had to be David's most immediate past life. Why not hire a book writer with a stronger gay sensibility like Douglas Carter Beane or Richard Greenberg? 

Why does David literally and completely disappear in the flashback scenes, except for "You're All the World to Me?"  That number was the only one that really worked, thanks to the rare, effective bit of choreography by Joann M. Hunter.

Why is the rest of the musical staging such a series of park and barks?

Why wasn't David more adorable?  Drew Gehling's Warren came across much better.  Why was David's BFF Muriel (Sarah Stiles) so obnoxiously written and performed?

Why take such a wonderful song like "What Did I Have That I Don't Have" and reduce it to a single punchline sung by David?  Why waste the talent of Kerry O'Malley?   Why not give it to Sharone (Ms. O'Malley) as she gets more involved in Mark's apparent self-destructive actions, rather than the disrespectful nod of acknowledgement she gets from the secretary late in Act II.

Why waste the talents of Catherine Zuber on such a fashion-deficient era as the '70s?  If that's the look, Mr. Producer, save your cash.

Why?

American Idiot

"American Idiot" at the St. James Theatre, September 12, 2010

Green Day comes to Broadway with this staging based on their 2004 album of the same title, broadening the original concept into a story of three friends, Johnny (John Gallagher, Jr.), Will (Michael Esper) and Tunny (Start Sands) who plan to abandon their small-town, suburban upbringing for the bright lights of the big city.  Will gets shot down before the trip begins when he learns his girlfriend is pregnant.  Johnny and Tunny make the trek, but Tunny joins the military in the aftermath of September 11 and ends up in Iraq.  Johnny falls victim to the lure of drugs under the spell of his dealer, St. Jimmy (Tony Vincent).

Each in their own way become the American Idiot they so much long to avoid, by the poor choices they make in their lives.  Will's marriage disintegrates before his eyes as he refuses to grow up and accept the responsibility he's put upon himself to raise a family.  Tunny, severely wounded in a roadside bombing, falls for a military nurse.  An aerial effect works nicely to convey the drug-induced dream sequence as he recovers from his injury.  Johnny falls in love with the oddly described Whatsername (Rebecca Naomi Jones) only to fall more seriously under his own drug addiction.

In the end, all three end up back in their small town to heal their wounds and try to figure out how to grow up.

Mr. Gallagher gives his role much more than the script does, a testament to his talent.  Mr. Esper's Will has the least to do of the three, other than sit on the couch and crack open another beer.  Mr. Sands finds a nice humanity in his character's conflicted spirit.  Mr. Vincent's St. Jimmy, a cross between the devil and the Child Catcher from Chitty Chitty Bang Bang slinks about and vamps it up for everything he's worth - a relative highlight of the evening.

Director Michael Mayer, well-acquainted with the rock musical concept keeps things moving, but has little to work with from his own thinly drafted book.  Steven Hoggett's "choreography" looks more like a suburban "broadway bound" beginner dance class.

The band is terrific, however, and the voices and visuals are good.  It's anything but a traditional musical, but it could stand a few more characteristics of one to strengthen the storytelling.