On A Clear Day You Can See Forever – REVIEW

Alan Jay Lerner’s musical, On A Clear Day You Can See Forever, bounces onto the Seymour Centre stage with a new adaptation from director/actor Jay James-Moody who has brought the play into the present with sharper dialogue and a contemporary approach to the score.

Lerner’s 1965 Broadway production was in itself an adaption from the 1926 play, Berkeley Square, which was loosely based on an unfinished Henry James book, so reappraisals to the story and music are nothing new for this play.

Without detracting from the production’s original bones, James-Moody has trimmed songs, dialogue and characters, bringing Clear Day  into a modern focus – and it works a treat.

The characters are now finely drawn, the pacing is brisk and the through lines have clarity that make this a classy production with a strong cast who deliver dialogue and songs to perfection.

The storyline of this version concerns the triangular relationship between psychiatrist Mark (Blake Bowden) and florist David (James-Moody) and the ghost Melinda (Madeleine Jones) who is channeled through David.

In the background is David’s male fiancé Warren (James Haxby) who is troubled by his own sexuality and prone to gaslighting David.

As the sessions between Mark and David progress so too do the blurred lines of their sexuality and reality concerning ESP and reincarnation.

Still traumatised by the death of his wife, Mark becomes infatuated with Melinda, who is accessed via David when in an hypnotic state, providing some of the most touching and insightful moments in the play.

Many of those on stage also double into other roles, especially when Melinda’s past life unravels.

Sounds confusing but it all pans out in the end when Bowden delivers the poignant title song with a strength of conviction that proves what a formidable talent he is.

James-Moody portrays David with a great sense of vulnerability, while Jones shines through song and dialogue that brings life to the ghost of Melinda.

Haxby plays Warren with just the right amount of cynicism and manipulation without turning the audience against him, while Natalie Abbott and Billie Palin bring smaller but no less important roles to life, often appearing with Lincoln Elliott who provides on stage musical accompaniment.

Full marks to the orchestra led by Natalya Aynsley, and to Michael Hankin and Bella Rose Saltearn for a simple and highly adaptable set.

While James-Moody is not the first to cast this production with a gender flip or update the music he has overhauled this vintage piece to make it a play for the moment.

Until April 15

Seymour Centre, cnr Cleveland St and City Rd, Chippendale

www.seymourcentre.com