This show was a hit in France, and only undeserved bad reviews kept in from being a hit in America. This was Michel Legrand’s first attempt at a stage musical, but he had written the scores to two important film musicals, the groundbreaking The Umbrellas of Cherbourgh and the Barbra Streisand vehicle Yentl. The actual plot, about a nebbish clerk who gains the power to walk through walls only to become permanently stuck in a wall, sounds depressing on paper, but it somehow played as inexplicably light and quirkily charming in performance. The libretto is witty, and the sung-through score is a masterpiece of lightness and delicacy. In fact, this is arguably a contender for the best completely sung-through Broadway musical of the decade, given that the genre was on the decline at the time and produced few other worthy works. The English-translation lyrics were a little heavy-handed at times, but apart from that this show, unlike such foreign transfers as Dance of the Vampires, was just as deserving of success in America as it was in its native country, and while it is definitely a piece of theatrical caviar, it might well have been a hit had the critics not inexplicably decided to lift their leg on it like a dog on a fire hydrant.