Dear World is Herman’s best show

The book is messy and talky, the production numbers hurt the intimate feel of the show. Lansbury was fabulous - probably her finest Broadway role, up there with Gypsy and Lovett. The other madwomen, Connell and Matthews, were equally excellent. The garbage=sewer man had no good material, so the trial scene fell flat. But those production numbers should just have been solos for Angela with a concertina or accordion. The lyrics of the title song are awful, and seeing the ensemble dressed as doctors and nurses in surgeons outfits was camp in the worst possible way. But hearing Angela sing I Don't Want To Know is one of the finest musical theatre moments I have ever experienced, right up there with Merman in Everything's Coming Up Roses and Rose'Turn and Martin in Neverland and I Gotta Crow and Alfred Drake in Kismet.

Updated On: 7/9/26 at 09:10 PM

I saw DW 3 times in early 1969 (pretty sure), once in Boston, twice in NYC. I really enjoyed the show, because of Jerry Herman's score and Lansbury's great performance. Every time I saw it, it actually got worse. The first time I saw Each Tomorrow Morning, I thought it was one of the most beautifully staged numbers I had seen to that point (I was only 18 or 19, but I had seen just about every musical in the prior 5 seasons). They completely changed it twice in NYC.

What was wrong: the book was a disaster, the direction got worse over time (can't remember if they changed directors), the choreography also got worse. Other than Lansbury and Jane Connell, the best you could say about the rest of the case was that they were competent. The title number, despite having a great melody, might be the stupidest title song in Broadway history (sorry for the hyperbole, but it was such a stupid declaration).

No, DW is not the best Jerry Herman musical. First, there are the obvious three: Hello Dolly; Mame; and La Cage. Then there is Milk and Honey, a gentle show that was probably his only other hit Herman had. I loved The Grand Tour, which was flawed, but which the audience loved. Then, maybe Dear World, which was actually better than Mack and Mabel, which -- despite a great score -- was a horrible night in the theatre...the audience barely applauded at the end of that one.

Anyone who thinks DW is his best show is entitled to their opinion, but I still feel sorry for them.

Thank you for the reports of the progress or regress of the show from Boston to early NYC to later NYC. Lansbury claimed the show got worse and worse as they monkeyed with it, especially with 3 different directors and choreographers. Milo O'Shea stayed with it through the opening, but begged to be let out since his part was eviscerated as was the Director of the Corporation, the villain of the show. It can work as an intimate show with a small string ensemble like a French cafe musical ensemble -- the original play is very delicate and fragile, but the musical got heavier and heavier as the evening wore on. The ensemble can be dispensed with, especially the production numbers. I heard there was a version at Goodspeed that incorporated many changes and restored the original opening number Through the Bottom of the Glass -- that version was supposed to be quite an improvement.

Well you missed out because Donna Murphy was sensational. She gave a Tony Award worthy performance, it was extraordinary, the way she sang and acted each song, I Don’t Want To Know, Kiss Her Now, Each Tomorrow Morning, Through the Bottom of the Glass, and that patter song tea party in act 2. Oh how I wish it transferred to Broadway. That big lush orchestra, the choreo, costumes, everything about it was truly perfect.

I’ve never seen a production of DEAR WORLD… However, I think it’s a great cast recording; magnificently produced by Thomas Z. Shepard.

The OBCR is wonderful, showcasing Lansbury at her best, though the title song and One Person come off as clunkers. Both worked better in the context of the show at Encores, with the title song now led by the character of Julien.

Updated On: 7/15/26 at 05:43 AM

I would actually probably agree based on the Encores! production alone, or at least it's my sure favorite. After years of hearing it spoken of in infamy without ever even hearing the cast album, I found it to be a basically perfect musical with a top-tier score and genuinely funny and thematically resonant book in this decade. But when I listened to the album, not only did I like the supporting cast's vocals far less, but its reputation made more sense to me just realizing that "Through the Bottom of the Glass" had originally been axed. That's mind-boggling to me, it is such a quintessential Jerry Herman leading lady introduction, and such a clear and endearing way to define this character. Makes me really wish that production had been recorded, it was pretty magnificent.

Updated On: 7/16/26 at 06:15 AM