A well-drilled chorus, as in 1965, gets to sing much of the overture, a lavish showcase for LaneвЂ™s sumptuous melodies. And Bogardus, sounding reedy and lacking breath support, really might want to dial back on BrucknerвЂ™s mood swings-his вЂњCome Back to MeвЂќ amounts to a temper tantrum.ДЇortunately, Cudia is vocally up to вЂњShe WasnвЂ™t You,вЂќ surely one of BroadwayвЂ™s most romantic ballads ever.В And John BellвЂ™s music direction of Josh ClaytonвЂ™s orchestrations, which are pretty elaborate for Off-Broadway, has plenty of flavor. She overdoes the New York accent (DaisyвЂ™s from Mahwah, after all) and underdoes MelindaвЂ™s elegant British diphthongs, and, accents aside, these two utterly opposite women donвЂ™t seem all that different. Melissa Errico has a fine throaty belt that makes the most of вЂњHurry, ItвЂ™s Lovely Up HereвЂќ and вЂњWhat Did I Have That I DonвЂ™t Have?вЂќ, but it doesnвЂ™t altogether suit the meek, conformity-seeking Daisy. One meditative song written for the film and chopped from the release print, вЂњWho Is There Among Us Who Knows?вЂќ, is back in it adds nothing. Bruckner to Daisy, 1965: вЂњMelindaвЂ™s beautiful soul inside you? God, what a housing shortage!вЂќ 2018: вЂњGod, what a waste!вЂќ Lost its ping, didnвЂ™t it? On the other hand, she does a somewhat better job setting up BrucknerвЂ™s obsession with Melinda, and she speeds up the storytelling. And Kriakos, the Aristotle Onassis stand-in who funds BrucknerвЂ™s research, is gone entirely, costing us a song (вЂњWhen IвЂ™m Being Born AgainвЂќ) and some of LernerвЂ™s better lines (вЂњDid you see his yacht in the harbor last night? I thought it was NewarkвЂќ). This does the plot major damage, weakening the conflict and throwing his character-defining number, вЂњWait Till WeвЂ™re Sixty-Five,вЂќ to the chorus, which has no business singing it. MelindaвЂ™s stuffy fiancГ©, Warren (Matt Gibson), is now just a platonic friend with a few lines. Two significant characters, however, are missing, and so are three significant songs. Once again Daisy (Melissa Errico) is just an unambitious New Jersey miss who seeks help from Bruckner (Stephen Bogardus) to quit smoking and inadvertently reveals a past life as Melinda Welles, a bewitching Londoner who loved portrait painter Edward Moncrief (John Cudia) and died young in a shipwreck. She has solved a problem or two and created others. Now, in another go by Irish Repertory Theatre, director-rewriter Charlotte Moore has returned in many respects to the original but made further revisions.

Director Michael Mayer performed a sex change on it for a radically rewritten 2011 revival, turning Daisy into David Gamble, further muddling the narrative and making Harry Connick Jr. Lerner kept reworking it as it toured and did so again for the 1970 film version that starred a miscast Barbra Streisand and an unintelligible Yves Montand. Praised in 1965 for a remarkably witty, lush score but castigated for a confused book, On a Clear Day keeps reappearing in altered forms.

On a clear day musical