“Which moment of misogyny?” I asked cautiously.
We were sitting in the corner of the theater, on the first day of rehearsal for the current revival of Alan Jay Lerner and Burton Lane’s 1965 musical “On a Clear Day You Can See Forever,” now playing at the Irish Repertory Theater.
“The misogyny in his immediately deciding he loves her,” my colleague continued, “and then she lets him — that’s where it’s problematic.”
I was beginning work on the part of Daisy Gamble, and the young actress, playing a supporting role, was repulsed at what she saw as the play’s gender stereotyping.
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