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1. Clear Day Double Shotgun Speaker Cables
2. Clear Day Rehab
3. Clear Day Weather App
4. On A Clear Day You Can See Forever

Clear days means, in relation to a period of notice, that period excluding the day when the notice is given or deemed to be given and the day for which it is given or on which it is to take effect; Sample 1 Sample 2 Sample 3. If something is as clear as day, it is very easy to see, or very obvious and easy to understand. Suddenly she stepped out from behind a tree less than ten yards from me. I saw her face as clear as day. It's as clear as day he's not guilty.

Clear Light of Day is a novel published in 1980 by Indian novelist and three-time Booker Prize finalist Anita Desai. Set primarily in Old Delhi, the story describes the tensions in a post-partition Indian family, starting with the characters as adults and moving back into their lives throughout the course of the novel. While the primary theme is the importance of family, other predominant themes include the importance of forgiveness, the power of childhood, and the status of women, particularly their role as mothers and caretakers, in modern-day India.^[1]

Plot summary[edit]

The novel is split into four sections covering the Das family from the children's perspective in this order: adulthood, adolescence and early adulthood, childhood, and a final return to an adult perspective in the final chapter.

The story centers on the Das family, who have grown apart with adulthood. It starts with Tara, whose husband Bakul is India's ambassador to the US, greeting her sister Bimla (Bim), who lives in the family's Old Delhi home, teaching history and taking care of their autistic brother Baba. Their conversation eventually comes to Raja, their brother who lives in Hyderabad. Bim, not wanting to go to the wedding of Raja's daughter, shows Tara an old letter from when Raja became her landlord, in which he unintentionally insulted her after the death of his father-in-law, the previous landlord. The section closes with the two sisters visiting the neighbors, the Misras.^[2]

In part two of the novel, the setting switches to partition-era India, when the characters are adolescents in the house. Raja is severely ill with tuberculosis and is left to Bim's ministrations. Aunt Mira ('Mira-masi'), their supposed caretaker after the death of the children's often absent parents, dies of alcoholism. Earlier, Raja's fascination with Urdu attracts the attention of the family's Muslim landlord, Hyder Ali, whom Raja idolizes. After recovering from TB, Raja follows Hyder Ali to Hyderabad. Tara escapes from the situation through marriage to Bakul, leaving Bim to provide for Baba alone, in the midst of the partition and the death of Gandhi.^[3]

In part three Bim, Raja and Tara are depicted awaiting the birth of their brother Baba in pre-partition India. Aunt Mira, widowed by her husband and mistreated by her in-laws, is brought in to help with Baba, who is autistic, and to raise the children. Raja is fascinated with poetry. He shares a close bond with Bim, the head girl at school, although they often exclude Tara. Tara wants to be a mother, although this fact brings ridicule from Raja and Bim, who want to be heroes.^[4]

The final section returns to modern India and shows Tara confronting Bim over Raja's daughter's wedding and Bim's broken relationship with Raja. This climaxes when Bim explodes at Baba. After her anger fades, she decides that family love is irreplaceable and can cover all wrongs. After Tara leaves, she goes to her neighbors the Misras for a concert, where she is touched by the unbreakable relationship they seem to have. She tells Tara to come back from the wedding with Raja and forgives him.^[5]

Background[edit]

Desai considers Clear Light of Day her most autobiographical work as it is set during her own coming of age and also in the same neighbourhood in which she grew up.^[6] She describes herself as placing 'a premium on setting', unlike other Indian writers.^[7]

Historical setting[edit]

Partition[edit]

The book is set at various times around the partition in Old Delhi. The tension between Muslims and Hindus are clearly shown by the father's refusal to allow Raja to go to a Muslim university and study Urdu literature because he has cause to fear for his safety. The book also mentions the partition riots as well as the refugee camps. It also depicts the flight of the Alis, the Das's Muslim landlords and neighbors.

These tensions often escalated into riots, but not in Old Delhi. The Hindus' claim to India led to the neglect, abuse and often violence towards Muslims in India or Hindus in Pakistan. The nation of India was torn apart in a violent manner, leaving refugees on both side of the border and mutual anger and hostility. The suspicious nature of the partition is also evidenced in the plainclothes police who felt Raja could be a Pakistani spy.^[8][9][10]

Delhi[edit]

In the book, Old Delhi is frequently referred to as old, stagnant, or decaying. Old Delhi is overcrowded and generally overlooked in favor of New Delhi. New Delhi is considered vibrant, modern and alive. In the book New Delhi is where the characters, specifically Bakul, go to avoid the soporific effects of Old Delhi or even to be connected with the outside world. Bim is in New Delhi when she hears of Gandhi death, and Raja finds diversion and entertainment as a teenager in New Delhi.^[11]

Religious[edit]

The religious undercurrents in the book manifest themselves in two ways: the partition (see above), and Raja's relationship with the Alis. As a young adult he found acceptance (albeit not inclusion) in Hyder Ali's nightly gatherings. His fascination with the Muslim culture, however, first manifests itself when he takes Urdu instead of Hindi, a language he considers banal, at school. Eventually he integrates himself into the Muslim culture and marries Hyder Ali's daughter, Benazir. However this relationship is strained during the partition and the Ali's subsequent flight to Hyderabad.^[12]

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Symbolism and motifs[edit]

Education[edit]

During the book education is mentioned a lot. Not just school, but also in the nightly gatherings at the Ali's. Raja and Bim both go to college, although Raja's education is much more prominent. Even Hyderabad, where he went following the Alis, is a considered a place of learning in India; it is the home of universities such as Osmania University, one of the oldest in India.^[13] Raja symbolizes culture refinement and knowledge, as does poetry.

Music[edit]

The primary manifestations of music in the book are Baba's gramophone, Dr. Biswas's musical inclinations, and Mulk's singing at the end of the book. The idea of music relating to life experiences is present. Baba constantly playing his gramophone at the same volume with the same records shows the stagnation of his development. Dr. Biswas refinement in musical taste shows the personal refinement he learned in Europe. Mulk and the Guru show that while life alters our experiences, we are still the same people; as they used the same style but with different experiences shaping their performance.

This is confirmed by Mulk complaining about his sisters sending away his musicians, like the partition of India. But the musicians return at the end of the book to accompany Mulk.

Tara also mentions her daughters' music but says it develops with theirgrowth.^[14][15]

Of particular interest is what music Desai has Baba play; all the records are from the same time period and he never gets any new ones. But the most potent of these songs seemsto be 'Don't Fence Me In', performed by Bing Crosby. Every primary character in the book with the exception of Bim finds some way to escape. A song about being free, however, is what angers the one character who, on the surface, had no desire to do so.^[16]

Separation[edit]

The novel tells not just the story of the separation of a family, but also of a nation. The partition of India is a tangible reality that is concurrent to Raja leaving, Tara marrying, the deaths of the Das parents as well as Aunt Mira, and the separation of the Das family. These familial separations are parallel to the social events leading up to Partition and to the continued social upheaval that followed the separation of Pakistan from India.

The summer of 1947 is described as tumultuous: it is the summer when Bim takes care of Raja in his illness, the Hyder Ali family abandons Delhi for Hyderabad under the threat of ethnic violence, and the father of the Das family dies. During the previous summer of 1946, the same summer that Jinnah made public demands for a Muslim homeland, the mother of the Das family had also died. The dissolution in the family that begins in 1946 parallels the growing Partition movement and the escalation of violence, such as the attacks in Calcutta in August 1946, in response to this division into two nations. In the summer of 1947, Tara marries Bakul and they leave for Ceylon (Sri Lanka), leaving Bim alone to care for the remaining family members: this coincides with the official division of India from Pakistan in August of that same year. The following summer, after the death of Gandhi earlier in January 1948 and the continued flight of refugees across Indian borders, Aunt Mira dies and Raja leaves for Hyderabad, thus isolating Bim further and leaving her to care for those who are left behind: Baba and herself. In particular, each of the three people who escaped (Tara, Raja and Aunt Mira) used a way of escape common during the Partition era: Tara fled the country for somewhere else, Raja fled to a Muslim center, and Aunt Mira left the earth entirely.^[17]

Language[edit]

Each of the languages in Clear Light of Day represents different things. Urdu is the language of culture, refinement, and knowledge. Hindi is considered every day, mundane and banal.^[12] Additionally the repeated examples of poetry emphasize the beauty of the one language compared to the other as more often than not they are in Urdu. Raja expounds how an Urdu poet could do that in a single couplet. Urdu symbolizes Raja and the Ali's culture and sophistication.^[18][19]

Nature[edit]

Nature is omnipresent in Anita Desai's Clear Light of Day. The children are constantly in the garden to escape the stuffy interior. Gatherings happen outside, such as at Hyder Ali's house and the Misra's; Tara's guilt is physically represented by bees; Nature is present even on clothes and in the poetry that Bim and Raja recite. It is significant that the novel begins with a description of the garden ('the koels began to call before daylight'), and Anita Desai clearly places an emphasis on setting. Nature in the novel is a source of entertainment, but more significantly, it is often analogous to the relationships and actions of the characters.

The first function of Nature in the novel is as a source of entertainment and learning for the Das children. The first instance of this is when Tara, at the very beginning of the story, thinking she has seen a pearl, finds a snail instead and plays with it, as she did when they were children, performing 'the rites of childhood over the creature'. A few pages later, Tara muses over the 'rustic pleasures' that she used to derive from the garden, longing to run to the guava trees and find a whole one to bite into. The garden is their source of refreshment in the heat of summer, and the nature filled surroundings provide Tara with reprieve from the business of her city life. The garden is 'overgrown', 'neglected' and 'uncontrolled', not perfect and square, so she feels like she can relax and forget about her engagement book. It also shows the contrast between Tara and Bim.

Nature's second function in the novel is to mirror or complement the actions or feelings of the characters in the book. Many paragraphs end with a reference to Nature, such as 'the dog suddenly pounced upon the flea' or 'a koel lifted itself out of the heavy torpor of the afternoon and called tentatively, as if enquiring into the existence of the evening'. This offers a parallel between what has just happened in the story and the natural world. The dog pounces on the flea immediately after Bakul tells Bim that he will marry Tara, and could represent Bim's isolation beginning to trap her. The koel calls tentatively after Bim has come to an understanding of herself and her relationship with her family and is finally at peace. It could be seen as her uplifting rebirth. Another parallel we can find is the heat of the summer and the political heat of 1947. The most important analogy between Nature and the human world is the garden. At the beginning of the novel, the roses are said to have grown smaller and sicker; they are 'dusted with disease'. At the end of the novel, there is a dust storm which mirrors the discussion Bim and Tara are having about Raja, and which leaves the garden 'shrouded in dust' and everything looking 'ancient and bent'. The garden, so beautiful and enjoyable in their childhood, has become old and grey as the years have progressed and the Das children have grown apart. Nature in the novel is also beautiful and dangerous at the same time. For example, mosquitoes are mentioned at the beginning as 'singing and stinging', and when the gardener waters the garden, 'bringing out the green scent of watered earth and refreshed plants', mynahs quarrel and parrots come, a 'lurid, shrieking green', ripping flowers to bits. This carries a warning and can be compared with human relationships, especially the relationship between Tara, Bim and Raja.

Finally, Nature is used as a point of comparison with the characters themselves. There is a long metaphor in which Aunt Mira and the children are compared to plants and trees, Aunt Mira being the 'tree that grew at the centre of their lives': 'Soon they grew tall, soon they grew strong. They wrapped themselves around her, smothering her in leaves and flowers. She laughed at the profusion, the beauty of this little grove that was the whole forest to her, the whole world. (…) she would just be the old log, the dried mass of roots on which they grew. She was the tree, she was the soil, she was the earth.' This metaphor is continued when Baba is compared to a 'plant grown underground', emphasizing the difference between him and his siblings. It also contrasts with the image that we are given of the Das parents. The roses in the garden were supposedly planted by the father, but neither he nor the gardener knew how to take care of them, so although beautiful at first, they withered. The fact that Tara doesn't know for sure that her father planted them compares with his constant absence in his children's lives. Like the roses, the Das children were not properly cared for which has led them to bicker and row, ultimately failing to understand each other. The cow, warm and soft, can also be seen as the Das parents trying to offer comfort and nourishment to their children, but the cow, like the Das parents and Aunt Mira, dies, leaving the children alone, Raja and Tara longing to escape and Bim bitter.Additionally, both Aunt Mira and Tara are compared to birds, at different moments in the book. Aunt Mira, weak with alcoholism, 'almost ceased to be human, became bird instead, and old bird with its feathers plucked, its bones jutting out from under the blue tinged skin, too antique, too crushed to move.' Tara, when Bim cuts off her hair, looks 'like a baby pigeon fallen out of its nest, blue-skinned and bristly, crouching behind the water tank and crying'. The idea of a bird too weak to fly is an accurate representation of Aunt Mira, widowed and rejected, and Tara, who is an introvert with no grand ambitions. It seems to point to what Tara might have become without Bakul, and adds to the contrast between the two sisters.

Other motifs and symbolism[edit]

• Birds
• Flowers (Roses)
• Duality (Light and Dark)
• Stagnation
• Women in India
• The passage of Time

Themes[edit]

Family[edit]

Bim's breakdown at the end of the book results in remarkable clarity of thought. In this insight, she concludes that the bond of family is greater than any other thing in this world, that she felt their pains, and that she couldn't live without them.^[20]

Forgiveness[edit]

Bim's inability to forgive Raja demonstrates that the deepest hurts come from the closest bonds.^[21] However she does find it in herself at the end of the book to forgive Raja for the insult and realize the importance of family.^[22]

Adolescence[edit]

A major a part of the book is devoted to the first years of the Das siblings and to how that period shaped their current lives. While Bim and Raja because the eldest siblings were sure of themselves and impressive , Tara and Baba were the smallest amount loved and grew up to be dependent—albeit in several ways— on others. the youngsters were rarely cared for in their household, then they constantly searched for affection from one another . Their experiences in adolescence were liable for their future selves, including their oft-tense relations with one another . Raja, who was selfish and proud, becomes an upscale , pompous man who remains trying to be the hero he idolized, Hyder Ali. Tara is consistently hooked in to her husband et al. to form decisions for her. Bim witnesses the degradation of her widowed aunt in her house and therefore the limitations of marriage, and she or he decides to measure a lifetime of independence.

Escapism[edit]

The Das siblings are constantly trying to flee their immediate surroundings. This need is fuelled by the shortage of attention they get from their parents. Raja starts inclining towards Islamic culture against his family’s wishes, Tara first seeks attention from Mira Masi and starts to spend longer with the Misra sisters, ultimately marrying Bakul and leaving Delhi . Baba also tries to flee his immediate surroundings, albeit during a more unconscious manner, by constantly playing an equivalent music on a loop. These three characters are propelled by the necessity to repress unpleasant memories of their childhood. Bim appears to be the sole one that doesn’t want to flee her family. However, because the story progresses, one sees through chinks in Bim’s armor. She is consistently hurt by her siblings and wishes to escape—this time, ironically, into the past.

Poetry in Clear Light of Day[edit]

In this book, Desai quotes poems 12 different times, in addition to using a line by Iqbal as a part of a song at the end of the book.^[23] Poets quoted include T. S. Eliot (The Waste Land and Burnt Norton),^[24][25]Alfred, Lord Tennyson (Now Sleeps the Crimson Petal, Now the White),^[26]Lord Byron (Isles of Greece)^[27] Sir Muhammad Iqbal ('Thou didst create...into an antidote', and 'Your world is the world...over my world you have dominion')^[28]Algernon Charles Swinburne (The Garden of Proserpine)^[29] and D. H. Lawrence (Ship of Death).^[30] The poetry each serves to convey not only a particular aspect involved in the poem, but also the importance of education.

Awards and reception[edit]

In 1980 Clear Light of Day was shortlisted for the Man Booker Prize, although it did not win.^[31]

See also[edit]

References[edit]

1. ^Desai, Anita. Clear Light of Day. 1st Mariner books ed. New York: Mariner Books, 2000. Print.
2. ^Desai pp. 1–43
3. ^Desai pp. 44–101
4. ^Desai pp. 102–141
5. ^Desai pp. 142–183
6. ^'Notes on the Biography of Anita Desai'Archived 20 January 2007 at the Wayback Machine. Elizabeth Ostberg. 12 February 2000. Haverford.edu. Retrieved 2012-06-21.
7. ^Bliss, Corinne D. 'Against the Current: a Conversation with Anita Desai.' JSTOR. N.p., n.d. Web. 26 Sept. 2010.
8. ^Census of India, 1941 and 1951.
9. ^Ansari, Sarah. 2005. Life after Partition: Migration, Community and Strife in Sindh: 1947—1962. Oxford, UK: Oxford University Press. 256 pages. [ISBN019597834X.]
10. ^Desai pg. 45–46, 50–53, 59, 71–72, 75, 85, 101
11. ^Desai pg. 4–5, 17–19
12. ^ ^abDesai pg. 47
13. ^NAAC. 'INTERNAL QUALITY ASSURANCE CELL'. Welcome to Osmania University Hyderabad^{[permanent dead link]} N.p., n.d. Web. 27 Sept. 2010.
14. ^Desai pg. 13, 38
15. ^Desai pg. 177
16. ^Desai pg. 12, 14, 163
17. ^Rao, P. Mallikarjuna. Postcolonial Theory and Literature. New Delhi: Atlantic Publishers and Distributors, 2003. Print.
18. ^Desai pg. 46
19. ^Desai pg. 2, 41, 45, 46, 47, 50, 55, 82, 83, 98, 100, 182
20. ^Desai pg. 165
21. ^Desai pg. 25, 27
22. ^Desai pg. 181–182
23. ^Desai pg. 2, 41, 45, 46, 47, 50, 55, 83, 98, 100, 182
24. ^Eliot, T. S. 'The Waste Land' Bartleby.com: 26 Sept. 2010
25. ^Eliot, T. S. 'Burnt Norton'. 26 Sept. 2010
26. ^Lord Tennyson, Alfred. 'Now Sleeps the Crimson Petal' by Alfred, Lord Tennyson. PoemHunter.Com 26 Sept. 2010
27. ^Lord Byron. 'Isles of Greece'. George Gordon Byron, Lord Byron. The Oxford Book of English Verse. Bartleby.com. 26 Sept. 2010
28. ^Iqbal, Muhammad. Thou didst create the night, but I made the lamp. Thou didst create cl....'Archived 28 February 2011 at the Wayback Machine 26 Sept. 2010
29. ^Swinburne, Algernon Charles. 'Garden of Proserpine' by Algernon Charles Swinburne.' 26 Sept. 2010
30. ^Lawrence, D. H. 'The Ship of Death'Archived 2008-05-21 at the Wayback Machine Digital Writing and Research Lab. 27 Sept. 2010
31. ^'Anita Desai.'Archived 14 December 2010 at the Wayback Machine Contemporary Writers in the UK. British Council, 27 Sept. 2010

External links[edit]

On a Clear Day You Can See Forever is a musical with music by Burton Lane and a book and lyrics by Alan Jay Lerner based loosely on Berkeley Square, written in 1926 by John L. Balderston.^[1] It concerns a woman who has ESP and has been reincarnated. The musical received three Tony Award nominations.

Productions[edit]

The Broadway production opened at the Mark Hellinger Theatre on October 17, 1965 and closed on June 11, 1966 after 280 performances and 3 previews. The production was directed by Robert Lewis, choreographed by Herbert Ross, and starred Barbara Harris as Daisy Gamble/Melinda, John Cullum as Dr. Mark Bruckner, Clifford David as Edward Moncrief, Titos Vandis as Themistocles Kriakos, and William Daniels (Harris's co-star in A Thousand Clowns) as Warren Smith. Louis Jourdan was the original leading man when the show had its tryout at the Colonial Theatre in Boston but was replaced by Cullum before it reached Broadway. Scenic design was by Oliver Smith and costume design was by Freddy Wittop.

The show was not well received. Ben Brantley of the New York Times recalled: 'Its book was strained and muddled, most critics agreed; its big production numbers were simply cumbersome. But it did have [a] lushly melodic score....'^[2] Tours followed, starring such diverse actress-singers as Tammy Grimes, Linda Lavin, and Nancy Dussault as Daisy/Melinda.^[3]

A 1970 film adaptation directed by Vincente Minnelli starred Barbra Streisand, Yves Montand, and Jack Nicholson.

In February 2000, the New York City CenterEncores! series presented a staged concert starring Kristin Chenoweth as Daisy/Melinda and Peter Friedman as Dr. Bruckner.^[2] The show premiered in London in 2000 at the Bridewell Theatre.

A revised Broadway production began previews on November 12, 2011 at the St. James Theatre and opened on December 11, 2011, directed by Michael Mayer and with a new book by Peter Parnell. Harry Connick Jr. starred as Dr. Mark Bruckner.^[4][5] The cast included Jessie Mueller as Melinda and David Turner as David Gamble.^[5] The revised version, which had a developmental workshop at The Vineyard Theatre in the fall of 2009^[4] and had readings in August 2010 at the Powerhouse Theater at Vassar College, departed from the plot of the original. The patient is now a gay florist David (Turner) who was a female jazz singer Melinda (Mueller) in a former life, and who falls in love with his psychiatrist, widower Dr. Mark Bruckner (Connick).^[6] The Vassar concert mixed 'material from the stage and film versions and eliminates overstuffed 1960s-style production numbers.'^[7] This production closed on January 29, 2012 after 29 previews and 57 performances.^[8]

On A Clear Day You Can See Forever was revived at the Union Theatre in London starring Vicki Lee Taylor as Daisy Gamble and Nadeem Crowe as Dr. Mark Bruckner. The production was directed by Kirk Jameson and opened to rave reviews with the run ending on 28 September 2013.^[9]

The 2011 revised Broadway version was revived at The New Conservatory Theater Center in San Francisco, California starring Chris Morell as David Gamble, Melissa O'Keefe as Melinda Wells, and popular local actor William Giammona^[10] as Dr. Mark Bruckner. The production was directed by Artistic Director and Founder, Ed Decker, with music direction by Matthew Lee Cannon, choreography by Jayne Zaban and featuring new instrumental arrangements by Ben Prince. It opened May 21, 2016.

Porchlight Music Theatre presented this show as a part of their 'Porchlight Revisits' season where they stage three forgotten musicals per year. It was in Chicago, Illinois in May 2017. It was directed by Lili-Anne Brown.^[11]

Synopsis[edit]

Act I

Quirky Daisy Gamble sees herself as an unremarkable person and has low self-esteem, even though she can (1) make plants grow remarkably, (2) predict when a telephone will ring or someone will drop in, and (3) tell where to find an object that someone else is looking for. Her current problem, though, is her nasty smoking habit, which will interfere with the chances of her fiancé, Warren, for a job with great benefits. She seeks help from a psychiatrist, Dr. Mark Bruckner, to stop smoking. When he hypnotizes her, she describes living a previous life in late 18th century England as 'Melinda Wells', who died in her late twenties from circumstances beyond her control. Free spirited Melinda was in love with portrait painter Edward Moncrief. Mark keeps to himself what Daisy has revealed to him, and he tells her that she should not be ashamed of her ESP.

At their next session, Daisy, under hypnosis, relates scenes from the salacious London Hellrakers' Club where Melinda met Edward. Melinda and Edward eventually marry, but the painter is unfaithful to her, making love to his subjects. Mark finds himself falling for 'Melinda' and becomes convinced that Daisy is really the reincarnation of Melinda. Melinda finally leaves Edward and sets sail for America, but the ship never reaches Boston. Before Mark can save Melinda from shipwreck, Daisy wakes up.

Act II

Mark reports on the case to his fellow psychiatrists, who ridicule his findings. Greek shipping magnate Themistocles Kriakos learns of Mark's belief in reincarnation and offers to finance a study of the events of Melinda's life in exchange for Mark's help in discovering who he will be in his next life, which will allow him to leave his fortune to his future self. Daisy accidentally discovers that she is the 'Melinda' at the center of the growing controversy and that Mark prefers Melinda to herself. In her angry confrontation with the psychiatrist about the matter, she tells him that she is 'through being a go-between for you and your dream girl. You're not going to go on using my head for a motel.'

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Daisy goes to the airport, ready to return home. Her ESP powers warn her that the plane on which she plans to travel will crash. She realizes at last how special she really is. She leaves her starchy fiancé and she and Mark unite to explore their extraordinary future.

Versions[edit]

The musical is available in at least two noticeably different published versions (aside from the film version), although the basic plot-line remains the same. The first version was published in 1966.^[12] The musical numbers recorded in the original Broadway cast album^[13] of 1965 correspond to this version.

A second version is evident in the piano-vocal score published in 1967.^[14] Here several vocal numbers from the above version are missing ('Ring Out the Bells,' 'Tosy and Cosh', 'Don't Tamper with my Sister'), as is the introduction to the song 'Hurry, It's Lovely Up Here,' which is recorded on the cast album. Also, the Greek millionaire's solo, 'When I'm Being Born Again' is given completely different lyrics ('When I Come Around Again') and sung instead by Daisy's friends. The overture recorded on the cast album combines the 'overture' and 'entr'acte' printed in the vocal score.

The 1970 film version departed from the musical significantly, adding a character for Jack Nicholson (an ex-stepbrother named 'Tad'), and changing details of other characters, moving the period of Melinda's life ahead by a decade or two (into the early 19th century), removing several songs, changing lyrics and adding two new songs.

Songs[edit]

1965 Broadway version[edit]

2011 Broadway revival version[edit]

† Songs taken from the musical film Royal Wedding.

Note: In the piano-vocal score, a song appears that was not included in the original Broadway production: 'The Solicitor's Song', during Daisy's first regression-scene. There was also a ballet in the first act of the original production, entitled 'At the Hellrakers' and the song 'Ring Out the Bells' that are not found on the original Broadway recording.

Recordings[edit]

The title song, first introduced by John Cullum in the 1965 musical, has been recorded by a number of artists, including Robert Goulet, Johnny Mathis, baseball pitcher Denny McLain, and Sergio Franchi on his 1976 DynaHouse and TeleHouse albums;^[15]Barbra Streisand, star of the 1970 film version, recorded the title song on the film's soundtrack and has frequently included it in her concerts. Sammy Davis Jr. has also performed the title song live in concert, and Harry James released a version in 1967 on his album Our Leader! (Dot DLP 3801 and DLP 25801). In 2012, The Peddlers' 1968 jazz cover was used in season 5 episode 3 ('Hazard Pay') of AMC-TV's Breaking Bad over a montage of Walt and Jesse's meth manufacturing.

'What Did I Have That I Don't Have' was covered with some success by Eydie Gorme and was also sung by Streisand on the soundtrack of the film version. 'Come Back to Me' was recorded by swing revival band the Cherry Poppin' Daddies in 1994, which later appeared on their multi-platinum 1997 compilation Zoot Suit Riot and was re-recorded for their 2014 Rat Pack tribute Please Return the Evening.

The title song is reminiscent of Ravel's 'Dawn' movement from his ballet Daphnis et Chloé.^[16]

Awards and nominations[edit]

Original Broadway production[edit]

Clear Day Weather App

On A Clear Day You Can See Forever

2011 Broadway revival[edit]

References[edit]

1. ^Wearing, J. P. (March 27, 2014). The London Stage 1920-1929: A Calendar of Productions, Performers, and Personnel. Rowman & Littlefield. ISBN9780810893023 – via Google Books.
2. ^ ^abBrantley, Ben. 'Reincarnation With a Green Thumb'The New York Times, February 12, 2000
3. ^'Talkin' Broadway Regional News & Reviews: San Francisco 'Steel Kiss' and 'On a Clear Day' - 9/12/1999'. Talkinbroadway.com. 1999-12-09. Retrieved 2016-12-03.
4. ^ ^abJones, Kenneth. 'A New Life! Harry Connick, Jr. Will Star in Broadway's 'On a Clear Day', as Reconceived by Michael Mayer' Playbill, March 1, 2011, accessed December 3, 2016
5. ^ ^abJones, Kenneth.'On a Clear Day', Nov. 12, You Can See Harry Connick Jr., Beginning Broadway Run'Archived 2011-11-15 at the Wayback Machine playbill.com, November 12, 2011
6. ^Voss, Brandon.'New Vision for 'On a Clear Day'Archived 2011-11-14 at the Wayback Machine playbill.com, November 12, 2011
7. ^Itzkof, Dave.'A Clear Day’ Is Born Again in New Concert Production'New York Times, June 17, 2010
8. ^Jones, Kenneth (January 12, 2012). 'Broadway's On a Clear Day, a Reincarnation of a Past Cult-Hit, Will Die Jan. 29'. Playbill. Archived from the original on January 16, 2012. Retrieved January 12, 2012.
9. ^'Theatre review: On a Clear Day You Can See Forever at Union Theatre'. Britishtheatreguide.info. Retrieved 2016-12-03.
10. ^'On a Clear Day You Can See Forever a gay pastiche that pleases at NCTC'. Retrieved 2018-03-15.
11. ^'Porchlight Revisits On A Clear Day You Can See Forever at Stage 773 | Metromix Chicago'. chicago.metromix.com. Retrieved 2018-05-15.
12. ^On a Clear Day You Can See Forever: a musical play, by Alan Jay Lerner. Music by Burton Lane. New York: Random House, c. 1966.
13. ^On a Clear Day You Can See Forever: the original Broadway cast recording. RCA Victor. LSOD-2006 Stereo, LP. c1965. (also on CD)
14. ^On a Clear Day You Can See Forever. Vocal score. Piano reduction by Robert H. Noeltner. New York: Chappell & Co., Inc., 1967.
15. ^'Archived copy'. Archived from the original on 2014-07-13. Retrieved 2011-10-07.CS1 maint: archived copy as title (link)
16. ^Lin, Andrew. 'Violins and Valentines', The Harvard Independent (February 2016).

External links[edit]