Harry Connick Jr. falls flat in ‘On a Clear Day’ revamp

Michael Mayer’s ambitious restyling of On a Clear Day You Can See Forever has garnered mixed results. The updated story line feels manufactured and just as complex as the source material (which itself was enormously complex). Worse yet, the musical’s leading man, Harry Connick Jr., delivers a performance that feels oddly detached from the rest of the show.

One could easily point out that the Frank Sinatra-like singer is simply playing the part. After all, Dr. Mark Bruckner (Connick) is a wan widower whose sense of love and enthusiasm has been reduced to clinical trials with his patients. But the way he’s portrayed on the voluminous stage at the St. James Theatre, Bruckner feels lost and distressed. Connick expertly sings the songs by Alan Jay Lerner and Burton Lane, but he hardly moves his arms when acting the part. He walks on stage, talks a bit and then walks off — perhaps self-conscious of the debacle he’s stuck in.

The major rewrite of the script occurs with the new character of David Gamble (David Turner), a gay florist in Greenwich Village who becomes Bruckner’s patient. While under the power of hypnosis, David reveals that he has commitment issues with his boyfriend, Warren (Drew Gehling), and that he may be the reincarnation of a 1940s jazz chanteuse known as Melinda Wells (Jessie Mueller).

Wait a minute, it gets better.

Bruckner somehow (and without much explanation) falls in love with Melinda. Of course, the problem is that this woman is dead, and David is her unknowing conduit. As these love triangles go, David starts to fall for the doctor, and the plot continues to get curiouser and curiouser.

To put it simply, the old show was complicated and yet somehow charming. The new show is equally complicated and grating. The songs are the only respite from the formulaic and needlessly complex plot. And, yes, the songs still impress. Hearing Connick and company bring to life “Come Back to Me,” “Too Late Now” and the title song is almost worth the price of admission … almost.

Mayer’s direction is all over the place. Everything and everyone seems beholden to the ridiculous plot. Case in point: To get Bruckner to have a relationship with Melinda, he needs to hypnotize David. Well, for brevity’s sake, why not just have David susceptible to falling unconscious by saying a simple word? The florist drops and the doctor can continue his quest for the 1940s singer. Easy as pie.

One can sense that there’s something more profound brimming under the surface, but it’s suffocated by the 1970s-era pastiche and strange plot developments. At first, I appreciated the fact that this psychiatrist would be attracted to an image of a dead lady. His wife has died, so he probably has conflicted feelings about not letting go and moving on. The problem is that David literally and figuratively gets in the way. The entire character (which in the original form was a woman and proved to be the center of attention) feels extraneous and underdeveloped. Turner doesn’t help matters. He seems to enjoy the part, but can’t find the sympathy behind the character.

Mueller is the highlight of the show. She ably comes to life and feels authentic, an adjective missing from the rest of the revival. Her songs are slinky and sexy; it doesn’t take much to realize why Bruckner would fall in love with her.

Honestly, if Connick was in perfect form, On a Clear Day would be remembered as a slight misfire. Unfortunately the main draw here has checked out. He’s painfully running through the motions and can’t muster an ounce of enthusiasm.

We’re told that Bruckner is in mourning for his dead wife. I’m not sure if that’s the only thing he’s mourning.

• On a Clear Day You Can See Forever

• Original book and lyrics by Alan Jay Lerner

• Music by Burton Lane

• Newbook by Peter Parnell

• Reconceived and directed by Michael Mayer

• Choreographed by JoAnn M. Hunter

• Scenic design by Christine Jones

• Starring Harry Connick Jr., David Turner and Jessie Mueller

• Playing at the St. James Theatre at 246 W. 44th St. in New York City.

• Click here for more information. Tickets start at $35.

• Running time: 150 minutes

• Rating: