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A TAMS-WITMARK TITLE
Full-Length Musical, Comedy / 2w, 4m plus ensemble
Book and Lyrics by Alan Jay Lerner Music by Burton Lane Produced for the Broadway stage by Alan Jay Lerner
Image: 2011 Broadway Production (Paul Kolnik)
Nominee: Three 1966 Tony Awards, including Best Composer and Lyricist Winner! 1966 Theatre World Award for Outstanding Performance (John Cullum)
Original 1965 Broadway version!
To quit smoking, eccentric Daisy Gamble seeks help from psychiatrist Dr. Mark Bruckner. Under hypnosis, Daisy describes memories of her 18th-century London life as the confident and commanding Melinda Wells. As Mark grows increasingly fascinated by Daisy’s former persona, romantic complications ensue. Burton Lane and Alan Jay Lerner’s melodic score includes the gorgeous title song, plus “Come Back To Me,” “Hurry, It’s Lovely Up Here,” “What Did I Have That I Don’t Have?” and “Melinda.”
Act I
During a lecture at the Bruckner Clinic, psychiatrist Mark Bruckner discovers a most suitable subject in student Daisy Gamble. Daisy repeatedly lapses into hypnotic states as Dr. Bruckner explains hypnosis in his class. After class, she reveals to the doctor her many extrasensory powers, including her ability to make flowers grow. Daisy is quite concerned about her eccentricities.
The doctor agrees to treat her if she will let him try to discover, while she is under hypnosis, how she developed her powers. They are astonished to find that she starts talking about a prior life in 18th-century London as Melinda Wells. Daisy amazes Mark further when she suggests he answer his phone before it starts ringing. She apologizes for her acute perception and goes to meet her boyfriend, Warren.
At their next psychiatric session, Mark puts Daisy into a trance and summons Melinda from her subconscious. Mark’s attachment to Melinda is growing as we are transported to a colorful, 18th-century London club, and he is soon convinced that Daisy’s story is not a mere yarn. He files a medical report in the proper psychiatric channels, and as the first act ends, he sings of his love to the intangible Melinda.
Act II
Mark is ridiculed by his psychiatric colleagues and is himself beginning to doubt his findings. Just then, he gets an encouraging visit from a Greek shipping magnate who tells Mark he has financed an investigation which explains various incidents described by Melinda. In Mark’s office, Daisy comes across a tape recording of one of her sessions and realizes that Mark is really in love with Melinda and is merely using Daisy to summon her. Daisy is determined to become “normal” but Mark, through extrasensory control, proves to be her destiny.
DR. MARK BRUCKNER MRS. HATCH STUDENT DAISY GAMBLE/MELINDA MURIEL BUNSON JAMES PRESTON SAMUEL WELLES MRS. WELLES SIR HUBERT INSDALE HUBERT INSDALE (SIR HUBERT’S SON) MILLARD CROSS WARREN SMITH EDWARD MONCRIEF FLORA DR. CONRAD FULLER B.C.A. OFFICIAL ENSEMBLE Students, Friends, Passengers and Crew of the “Trelawney”
New York City. 1965.
On A Clear Day You Can See Forever – Broadway Trailer
On A Clear Day You Can See Forever – New Conservatory Theatre Center Trailer
Image: Sam Norkin
1. Overture – Chorus 2. “Hurry, It’s Lovely Up Here” – Daisy 3. “First Regression” – Edward 4. “Solicitor’s Song” – Solicitor, Trundle, Hubert, Insdale & Wells 5. “He Wasn’t You” – Daisy 6. “On A Clear Day You Can See Forever” – Mark 6a. The Gout – Orchestra 7. “S.S. Bernard Cohn” – Daisy, Muriel, Patty, Sally & Chorus 7a. Travel Montage – Orchestra 8. “She Wasn’t You” – Edward & Melinda 9. “Melinda” – Mark 10. Finale Act I – Orchestra
11. Entr’acte – Orchestra 12. “When I Come Around Again” – Preston & Students 13. “Trelawney No. 1” – Chorus 14. “What Did I Have That I Don’t Have?” – Daisy 15. “Wait Till We’re Sixty-Five” – Daisy, Warren & Chorus 16. “Come Back To Me” – Mark 17. Reprise: “Come Back To Me” – Mark 17a. End of Scene – Orchestra 18. “Trelawney No. 2” – Orchestra 19. “Finale Ultimo” – Mark 20. Curtain Calls – Chorus 21. Exit Music – Orchestra
Full Orchestration
Violin AC Violin BD Viola Cello Bass
Reed 1: Flute, Piccolo & Clarinet Reed 2: Flute & Piccolo Reed 3: Clarinet Reed 4: Clarinet & Bass Clarinet Reed 5: Oboe & English Horn
Horn 1 Horn 2 Trumpet 1 & 2 (Trumpet I in D and Bb) Trumpet 3 Trombone 1 Trombone 2
Percussion 1 & 2:
Timpani (2) Bass Drum Snare Drum Tom Tom Finger Cymbals Cymbals Tambourine Triangle Orchestra Bells Vibraphone Xylophone Slide Whistle Boat Whistle Sand Paper Blocks Castanets Wood Blocks
Harp (Optional)
39 Libretto-Vocal Book 1 Piano-Conductor 1 Reed 1 1 Reed 2 1 Reed 3 1 Reed 4 1 Reed 5 1 Horn 1 1 Horn 2 2 Trumpet 1&2 1 Trumpet 3 1 Trombone 1 1 Trombone 2 1 Harp 2 Percussion 1&2 2 Violin AC 2 Violin BD 1 Viola 1 Cello 1 Bass
39 Libretto-Vocal Book 1 Piano-Conductor
ALAN JAY LERNER wrote these plays with Frederick Loewe: Life of the Party, What’s Up, The Day Before Spring, Brigadoon, Paint Your Wagon, My Fair Lady, Camelot, Gigi. He also wrote Love Life with Kurt Weill, On A Clear Day You Can See Forever and Carmelina with Burton Lane, C ...
Burton Lane, born in 1912, was – in the words of the New York Times – “one of the most respected American songwriters.”
Lane began composing when he was just 15, writing songs for musical reviews. His most revered work is the rich, classic Broadway score for Finian’s Rainbow. ...
Multiple Authors
Oscar Hammerstein II, Richard Rodgers
by Multiple Authors