As a slow-paced, deeply depressing mood piece based on the work of no less heavy an author than Proust, it probably isn’t all that surprising that this show proved to have insufficient mass appeal, but this is one of the finest musicals of the decade to unequivocally flop. Ricky Ian Gordon moonlights, so to speak, as a Modern Classical composer, and it shows: his is the most legitimately classical sound of all the current post-Sondheim composers. Even the lively numbers in this score, like “Balbec-By-the-Sea”, “The Ferret Song”, or “I Need Me a Girl” sound more like a symphonic scherzo than traditional musical-comedy ditties. While this does make the score a trifle inaccessible to those whose ears were weaned on the pop sounds popular on Broadway at this time, it is nonetheless one of the finest scores on this list. Kelli O’Hara gets another plum role here, given ravishing material like “Is It Too Late”, “My Soul Weeps”, and “If It Is True” to wrap her legendary voice around. The lovers receive a complex, bittersweet duet, “But What I Say…”, that is hardly your standard operatic love duet, but is exquisite enough to hold its own with the works of Puccini. There is also the achingly erotic “I Want You” for Emily Skinner, and two of the most brilliant contrapuntal showcases of the decade, “The Letters” and “The Street”. With its glorious score and sumptuous vocals, this show is another true Heartbreaker Flop worthy of exploration by anyone who loves ambitious and high-minded musical theater.