The show came up empty handed at the Tonys but did receive three nominations ("Best Actress in a Musical" for Harris, "Best Actor in a Musical" for Cullem and "Best Composer and Lyricist" for Lerner and Lane). Future Streisand collaborator, Herb Ross choreographed the show.

There are some subtle (and not so subtle) differences between the Broadway and film versions of "Clear Day." The first thing you'd notice is that some character names were altered for the film. Dr. Mark Bruckner became Dr. Marc Chabot and Melinda's surname was changed from Wells to Winifred-Waine-Tentrees. And just for good measure, Warren Smith became Warren Pratt on screen.

On stage, Melinda's story line was quite different. She died in a drowning at sea while on her way to America. The plot had nothing to do with insurance company inquisitions, court trials or unjust executions. The time-line of Melinda's story centers around 1794, not 1814 as in the film. She did not attend any grand banquets with the King or engage in any extramarital liaisons with an ambassador. Melinda did have a suitor named Edward whom she eventually married. Edward was a womanizer who fell for Melinda's charm. (His character was scaled back and rewritten as Robert Tentrees for the film version). Melinda never had a first husband named Percy.

Meanwhile, Daisy Gamble lived in Mamaroneck, New York. She did not reside in a penthouse apartment in Manhattan. Neither did she not have a step-brother named Tad.

The final scene of the play takes place at an airport. Daisy has a premonition that the plane Dr. Bruckner is about to get on will crash. She warns him not to board. The flight is cancelled due to technical malfunctions. When Daisy and Bruckner see that the name of the aircraft is the same as the ship where Melinda met her demise, Daisy realizes that she may indeed have had a past life. She and Dr. Bruckner go off together, seemingly to live happily ever after (and after...).

The stage version of "Clear Day" contained a number of songs that were not incorporated into the film. The musical number, "Wait till We're Sixty-five" was performed in the stage version, and although a Streisand audio track of the song was recorded during film production, the sequence never made it to the screen. On stage, Edward sings the ballad "She Wasn't You." The film version has Streisand performing "He Isn't You" as a rewrite for Melinda's character. On stage, when Melinda first meets Edward, she sings a delightful number called "Tosy and Cosh." In the film, it's the melody we hear when Melinda arrives by carriage at Brighton Pavilion and first lays eyes on Robert Tentrees.

The stage version offered deeper character development for Daisy's fiancée, Warren. And a whole subplot existed between Daisy, Bruckner and a Greek tycoon who desired a deeper understanding of reincarnation. Like the similar ancillary character in the film, the tycoon wants to leave all of his money to himself.
 

Barbra's rendition of "On A Clear Day You Can See Forever" has since taken on a life of its own. After she performed it in the film, Barbra incorporated the number in many of her live concert performances and television appearances. At the McGovern benefit in 1972, Barbra even jokingly performed the song in honor of the city of Los Angeles and its notorious smog. "Clear Day" is one of the most recognized of all Streisand signature songs and is considered to be one of Barbra's most endearing vocal performances ever.

Though the film did not enjoy a huge box-office return when it was first released, Streisand's screen performance and vocal renditions have had lasting endurance. The decision to cast Yves Montand opposite Barbra in the film is considered one of the film's mistakes according to critics and some fans. And at The Actors Studio interview in 2003, Barbra herself was less than enthusiastic about that particular casting decision when the topic of Montand came up.

Regardless, Barbra Streisand took a modestly successful stage musical and made it part of her lasting legacy. The film will not only be remembered for her musical and comic contributions but also for the opportunity she was given to work with one of Hollywood's most legendary directors, Vincente Minnelli.

 

The revival received overall good notices, with the New York Times saying:

"Like the original ''Clear Day,'' ... this one is a must-see for its music and its star ... And then there is Ms. Chenoweth, who beams through the night in what seems to be a state of effortless ecstasy, lending wholesale sincerity to an outrageous gimmick of a role."